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Kaizan 7

Barbara Connell: Right, so start of the first meeting Kacey Anderson: Mm-hmm. Barbara Connell: Uh. Right, so agenda of the first meeting. Where we uh We have twenty five minutes for this meeting. Amy Burkhart: Okay. Barbara Connell: We uh are to get acquainted. So does everyone want to say who they are? that seem Kacey Anderson: Yeah. Barbara Connell: sensible? Kacey Anderson: I'm Robin. I'm the Marketing. Christine Barnes: I'm Louisa. I'm Christine Barnes. Amy Burkhart: I'm Nick. I am the Designer Barbara Connell: And I'm Alastair and I'm the project leader. Alright okay, so tool training. Um. Project plan. So does anyone have any uh thoughts as to the tool training that uh is required? Amy Burkhart: Tool training. Christine Barnes: I'm not exactly sure what you mean by tool training. Barbara Connell: am I. Oh I see, so we shouldn't really be Barbara Connell: Oh right okay, so. So we have the project team, which is to um basically to come up with a new r remote control device. Uh we have uh the starting base was the original which has been in existence now for a period of time. And uh our idea is to uh to make the new remote control device uh more user friendly than the previous one, and to to be trendier, to be with it, and therefore to uh Amy Burkhart: Yeah. Barbara Connell: to get a bigger market share and bigger audience. So um method of doing this is uh split up as you can see into uh the functional design, the conceptional design, and the detailed design. So um in each of these uh phases we'll uh basically be handing over to yourselves, the Amy Burkhart: Yes. Barbara Connell: designers of this uh this device. And uh having uh meetings so that we can uh during the course of the day um come up with a better better inst implement than we had before. And therefore um have a successful uh conclusion to the day. Um and you'll be doing uh various designs uh throughout Kacey Anderson: Mm-hmm, Barbara Connell: the day Kacey Anderson: okay. Barbara Connell: to meet this end. So we've got tool training. Try out whiteboard. Uh. So we will um. Right so everyone's to uh supposedly uh draw their favourite animal over on the white board over there. I guess this is uh make sure the whiteboard works. So Amy Burkhart: Okay. Barbara Connell: uh I don't know who wishes to go first. Do Christine Barnes: I Barbara Connell: you wish Christine Barnes: don't Kacey Anderson: I dunno. Barbara Connell: to Christine Barnes: mind. Barbara Connell: go f Have a first bash at uh whatever. Christine Barnes: Um. Barbara Connell: Ah Christine Barnes: Let's Barbara Connell: uh. Christine Barnes: see. Good job I got pockets today. Kacey Anderson: Your microphone's Barbara Connell: But now you you Kacey Anderson: just Barbara Connell: uh you'll move out from the microphone and the camera. I Christine Barnes: Are we Barbara Connell: take Christine Barnes: supposed Barbara Connell: it that Christine Barnes: to do this right now, do you think, or? Barbara Connell: I would I would guess so. Or Kacey Anderson: Yeah. Amy Burkhart: You've lost Kacey Anderson: I don't Amy Burkhart: uh Kacey Anderson: know. Amy Burkhart: your microphone there. Christine Barnes: Oh. Right Barbara Connell: Technical problems. Christine Barnes: here we go. Barbara Connell: I mean you designers are meant to come up with these sort of things. Christine Barnes: Okay. I think that I would have to say that my favourite animal is the cat. Little smiley cat there. Um and this would be because they're very independent, compared to dogs maybe. Um and they can be very very affectionate. Some people don't think so but I know very affectionate cats. Um. Um and they can look after themselves. Barbara Connell: Next. Amy Burkhart: Okay, yeah. I'll Christine Barnes: Shall I rub Amy Burkhart: I'll Christine Barnes: that out, actually? Barbara Connell: I don't see as there's any need to. There's plenty of space. I mean whatever. Kacey Anderson: We can have have a whole menagerie. Barbara Connell: Exactly. Amy Burkhart: Shall I see if I can get across without just tangling everything. Okay. There's Barbara Connell: We've Amy Burkhart: one. Barbara Connell: had more time to prepare over this side, so we've all stuck our bits and pieces in our pockets. Amy Burkhart: Didn't think of that. 'Kay uh Barbara Connell: The three Amy Burkhart: pens Barbara Connell: pens Amy Burkhart: are Barbara Connell: are Amy Burkhart: over here. Barbara Connell: underneath. Amy Burkhart: I'll try the red pen. Okay. Um. I'm gonna go for the bear but I'll have a bash at it. Barbara Connell: You get marks Amy Burkhart: Uh. Barbara Connell: for artistic impression. Amy Burkhart: Ooh ooh I lost it there. I think I've just knocked the microphone. Um. Barbara Connell: So you're just doing the face. Amy Burkhart: We'll g then we'll go for a a s small small bear. Um and I like my animal that looks nothing like a bear because um I dunno maybe because there's so many cartoon characters made up after the bear like the jungle book characters and stuff like that. Great. Kacey Anderson: Right. Kacey Anderson: Hello. Um I'm gonna go for the dog, and I'm gonna draw one badly as well. Uh. Kacey Anderson: looks like it's going to be a dachshund or something. Christine Barnes: That's quite good. Kacey Anderson: Right. There's my dog. And they're always happy, so whenever whenever you're feeling sort of a bit a bit down or tired, they're always coming up and they're always um quite excited. So um you can always have a lot of fun with a dog. And they're also good for exercise as well. You can sorta get out and they they sorta never get tired. And and when they're tired they're quite cute as well, so. Okay, that's why I like dogs. Barbara Connell: Right, um. Well I've not actually had too many pets uh over my uh time 'cause to be honest with you uh I'm not too keen on them anyway. Not to worry. So what my daughters have got at the moment is they've got uh a few fish and so hopefully um won't prove too difficult to draw. Uh Barbara Connell: As you can see that my artist artistic work is useless as well. Anyway um. And uh one of the best uh things about fish is that they don't really take uh too much looking after because uh with most of the animals if you're going away on holiday or whatever, you've gotta spend money or get a friend or whatever to look after them for you. Whereas if you got fish, you just gotta put the food in a a a dripper feed which feeds them over the uh couple of weeks that you're away and uh change the water every couple of months, and buy in a few plants, so. Other than the fact that they keep dying, uh fish are uh are not are are are reasonable pets in that uh they're low maintenance. Kacey Anderson: Great. Barbara Connell: Right. Okay, uh if we're still all with us. Right okay, so. Work has been done on uh this uh project where by um twenty five Euros is uh the uh expected uh selling price. Kacey Anderson: Mm-hmm. Barbara Connell: That information has come from our marketing manager here. Kacey Anderson: Yeah. Barbara Connell: So we're looking to sell internationally, not just in Europe. We're looking at um having our production costs limited to uh twelve and an half Euro per unit. And therefore making a profit margin of uh well not actually a profit margin it's uh because obviously you're gonna have overheads and various other costs to uh take uh from uh from that to give you your profit margin per unit. And so depending what the uh the overhead uh costs are will determine uh how many units we're uh looking to sell or projecting to sell at this point in time. So um Experience with remote control, first ideas. New remote. So I guess we're looking at um having a discussion at this point in time to help uh you um folks design our our new Amy Burkhart: Yes. Barbara Connell: model as it were. So uh any any thoughts? Amy Burkhart: Um I with some remote controls the buttons were a little small so they're quite hard to press so maybe we make something with uh easy to press buttons. As that is the main function. Barbara Connell: Okay, so so basically we're looking for some um we're looking for a device that is um robust Amy Burkhart: Yes. Barbara Connell: and and therefore uh won't get damaged too easily. a device that is uh What was the other things you said there? Amy Burkhart: Um sort of easy to use so the Barbara Connell: Easy Amy Burkhart: buttons Barbara Connell: to use. Amy Burkhart: are accessible. Barbara Connell: Use. Amy Burkhart: is easy to use and see. Barbara Connell: And see. Amy Burkhart: Yes. Barbara Connell: Okay. Uh. Christine Barnes: Can I just check? Is this just a television remote? Because a lot of um systems are kind of T_V_ video combined now, or T_V_ D_V_D_ combined. And Barbara Connell: Mm-hmm. Christine Barnes: one of the most annoying things is having like five remotes in the house. So if you've got a combined system, it could be a combined remote. Kacey Anderson: Mm. Christine Barnes: Or is it just a television that we're supposed to be doing? Barbara Connell: Oh I w um basically I'll get back to you on that. But it seems to Kacey Anderson sensible, 'cause as you rightly said, there's nothing more annoying than having three or four devices littered about the uh Kacey Anderson: Yeah. Barbara Connell: about the room. And uh So a device for for all remotes. Kacey Anderson: I've Amy Burkhart: Sorry, you go. You Kacey Anderson: Okay. Amy Burkhart: go. Kacey Anderson: Yeah. Um one of the things um we found from the market research is that people often get confused by the number of buttons on them as well. 'Cause there's quite often lots and lots. And um sometimes uh they sort of remote controls defeat their own purpose because you're sat in the chair and the remote is somewhere else in the room. So whereas in the past you'd have to get up to change the channel, now you have to get up to sort of pick up the remote. So so I don't we need to sort of maybe think about how um we could maybe uh develop a remote control which moves around the room. Barbara Connell: Hmm. Christine Barnes: Comes to your whistle. Kacey Anderson: That's that's maybe something for the future when you can talk to your television, but Amy Burkhart: Yeah. Barbara Connell: But is it in a sense it's r um mutually exclusive. You can't have both Kacey Anderson: Yeah. Barbara Connell: the th the one device and then have few buttons on it to 'cause you want you want simplicity as well, you want any idiot to be able to use it. Kacey Anderson: Yeah. Barbara Connell: Whilst at the same time you want, as you rightly said, one remote for all. Kacey Anderson: Mm-hmm. Barbara Connell: And so these are probably mutually exclusive options Amy Burkhart: Yes. Barbara Connell: that Kacey Anderson: Mm-hmm. Barbara Connell: uh Hmm you could argue that experience of using devices and similar devices as people get more and more used to using remotes, therefore they're more with handling Amy Burkhart: Yeah. Barbara Connell: them, therefore you can make them more complicated as time goes on. Amy Burkhart: Maybe we could um have better instructions with the remote. Or are we just doing the design of the remote control itself, or sort of the instructions that would come with it? Barbara Connell: Better instructions. Kacey Anderson: Yeah. I mean we've done some research um about sort of you know what the cutting edge sort of hand held devices are, and a lot of them sort of use you know they're like they're like mini laptops. Barbara Connell: Mm-hmm. Kacey Anderson: So it's possible that we could devise a system where where you're you're basically sort of holding a a miniature computer which is controlling all your your sort of your television, your stereo, and where you know if you buy a new thing then it sort of you can link it to that as well, maybe. Barbara Connell: Okay. Um well we've got five minutes before the end of the meeting. So uh we have to uh start winding up. Um is there Next meeting in thirty minutes. Amy Burkhart: 'Kay. Kacey Anderson: Okay. Barbara Connell: So um Right, so we've got I_D_ the Come on, where's my Kacey Anderson: If you just click return it should be okay. It'll get rid of the message. Amy Burkhart: Or not. Kacey Anderson: If you hit just hit return and it should get rid of the message. Barbara Connell: Oh Kacey Anderson: Oh you've Barbara Connell: there Kacey Anderson: got. Barbara Connell: we go. Yeah. That's what I was looking for. Right. So we've got function Oh what happened to the Christine Barnes: I think that might be back to the start. Kacey Anderson: Yeah. Christine Barnes: Um if you grab the kind of uh slide Amy Burkhart: slide Christine Barnes: to the Amy Burkhart: four Christine Barnes: left and pull it down? Kacey Anderson: Yeah. Barbara Connell: Right. Barbara Connell: Right. Amy Burkhart: Okay. Barbara Connell: Sorry about that. Okay, so we've got um the working design for I_D_. For U_I_D_ the technical functions design. Marketing, the user requirement specification. Specific instructions will be sent to you by your person by your personal coach. So. Are we all clear what objectives we're looking to meet in the next thirty minutes? Kacey Anderson: Mm-hmm. Barbara Connell: And Amy Burkhart: Yes. Barbara Connell: I guess I'll try and write up some minutes of uh this meeting to uh to give it to you for the next Amy Burkhart: 'Kay, Barbara Connell: meeting. Amy Burkhart: yes. Kacey Anderson: Mm-hmm. Christine Barnes: I'm not exactly clear on what we're designing the rem remote for. Is this a mun multi-functional one or do we decide that ourselves as we go away and work on it? Amy Burkhart: I think you just said at the start it was a television remote control, Barbara Connell: Television Amy Burkhart: so maybe we Christine Barnes: Right. Barbara Connell: remote Amy Burkhart: should just Barbara Connell: control. Amy Burkhart: stick to that unless we get told otherwise. Barbara Connell: That's true, 'cause during during the course of our day we might make decisions based on information or meetings that would change Kacey Anderson: Okay Barbara Connell: where Kacey Anderson: cool. Barbara Connell: we're going. But at this point in time I think you're right that uh shall we make it just a T_V_. Okay? Amy Burkhart: 'Kay. Barbara Connell: So we will depart. We will stay here and uh and break off. And I'll do minutes and and we'll see you in half and hour. Amy Burkhart: Okay, that's great. Christine Barnes: Okay. Kacey Anderson: Okay Barbara Connell: Okay. Kacey Anderson: cheers. Barbara Connell: Right s

The group introduced themselves and their roles to each other. Barbara Connell introduced the project aim and agenda to the group. The group acquainted themselves with the meeting-room equipment by drawing on the whiteboard. Barbara Connell discussed the projected production cost and price point for the device. The group began a discussion about their own experiences with using remote controls and about usability features to be included in the design. Barbara Connell instructed Amy Burkhart to prepare the working design, Christine Barnes to research technical functions, and Kacey Anderson to prepare the user requirement specification. The group discussed the function of the prototype and decided that they should restrict the remote to television for the time being.

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Jessie Wolford: Okay. Jessie Wolford: 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? Angel Hoffmann: I think we all have a presentation again, so Jessie Wolford: Right. Angel Hoffmann: if we go through Frances Fendler: Yeah. Angel Hoffmann: those and then um. Jessie Wolford: Three presentation, Angel Hoffmann: Shall Jessie Wolford: yeah. Angel Hoffmann: I Jessie Wolford: So Angel Hoffmann: go first again? Jessie Wolford: Yeah, fine. Frances Fendler: Okay. Angel Hoffmann: I see this a little more smoothly than the last one. Angel Hoffmann: 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 Frances Fendler: Mm-hmm. Angel Hoffmann: 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 Jessie Wolford: Okay. Angel Hoffmann: 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 Jessie Wolford: Mm-hmm. Frances Fendler: Mm-hmm. Angel Hoffmann: 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 Jessie Wolford: What would Angel Hoffmann: s Jessie Wolford: be the cost do do we know? Angel Hoffmann: 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 Jessie Wolford: Mm-hmm. Angel Hoffmann: 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 Jessie Wolford: Mm-hmm. Angel Hoffmann: 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. Frances Fendler: 'Kay. Holly Mchenry: Thanks. Jessie Wolford: with the printed circuit boards you were going for the Angel Hoffmann: 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. Jessie Wolford: Mm-hmm. Angel Hoffmann: Uh but I don't know, so that is something I'll have Jessie Wolford: But Angel Hoffmann: to look Jessie Wolford: are we Angel Hoffmann: into. Jessie Wolford: going f R right. Angel Hoffmann: Um that's a that's a decision for all of us. Um. Jessie Wolford: So are we able to make that decision Angel Hoffmann: Yeah Jessie Wolford: now Angel Hoffmann: yeah. Jessie Wolford: in a sense that this is the point at which Angel Hoffmann: We Frances Fendler: Mm-hmm. Angel Hoffmann: decide. Jessie Wolford: we're discussing that issue, so Angel Hoffmann: Yeah. Jessie Wolford: 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 Frances Fendler: Mm-hmm. Jessie Wolford: and then make the decision at that point in time. Angel Hoffmann: Um. Holly Mchenry: Yeah, Angel Hoffmann: Maybe Holly Mchenry: that's probably Angel Hoffmann: w Holly Mchenry: a better one, to discuss it straight away. Jessie Wolford: '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 Angel Hoffmann: Um. Jessie Wolford: 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 Angel Hoffmann: Yes. Jessie Wolford: make sense? Frances Fendler: Mm-hmm. Holly Mchenry: Um I have a lot of the information there. It might not be very clear. Angel Hoffmann: Is there Holly Mchenry: Unless you want to plug it back in to yours. Angel Hoffmann: Um. We could do, yeah. Um yeah we should. Angel Hoffmann: As I say it only specified that we need a more advanced circuit board for the scroll wheel, it didn't Jessie Wolford: Mm-hmm. Angel Hoffmann: The voice recognition came as a separate piece of information. Um. Jessie Wolford: No the scroll wheel required the regular, so the Angel Hoffmann: Yeah if if you down um. Jessie Wolford: Hmm. Angel Hoffmann: 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. Jessie Wolford: Okay. Holly Mchenry: I think Jessie Wolford: The display Holly Mchenry: the scroll Jessie Wolford: requires Holly Mchenry: wheel Jessie Wolford: an Holly Mchenry: um Jessie Wolford: advanced chip the display requires an advanced chip which Angel Hoffmann: Also the Jessie Wolford: in Angel Hoffmann: display's Jessie Wolford: turn Angel Hoffmann: for something Jessie Wolford: is more Angel Hoffmann: else which Jessie Wolford: expense. Angel Hoffmann: we decided against. Um but that bit Jessie Wolford: Okay. Angel Hoffmann: And note that the push button just requires a simple chip, so that would keep the price Jessie Wolford: Down. Angel Hoffmann: down. Holly Mchenry: Yeah, and if we're Frances Fendler: Mm-hmm. Holly Mchenry: 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 Jessie Wolford: Right. Holly Mchenry: they don't really look great. Angel Hoffmann: 'Kay. Jessie Wolford: Okay. Angel Hoffmann: So maybe just a simple push button, and that would Jessie Wolford: So. Angel Hoffmann: cut costs on Jessie Wolford: So Angel Hoffmann: the Jessie Wolford: we're going for p Okay. So is um Frances Fendler: So are we going for the w are we going for the simple one, are we? Holly Mchenry: Yeah, a simple Frances Fendler: Okay. Jessie Wolford: Simple Holly Mchenry: pushbuttons. Jessie Wolford: push button. Angel Hoffmann: 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 Jessie Wolford: Mm-hmm. Frances Fendler: Yeah. Angel Hoffmann: 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 Jessie Wolford: 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? Angel Hoffmann: Um if it's just the push button then it just needs the simple circuit board. Jessie Wolford: 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 Frances Fendler: Mm. Jessie Wolford: the more advanced, then that would have to be the same for all of them. Holly Mchenry: Hmm. Jessie Wolford: S Frances Fendler: I suppose Holly Mchenry: But Frances Fendler: we need we need to find out what circuit board that requires, maybe before we m make a decision. Holly Mchenry: But Jessie Wolford: Right. Holly Mchenry: 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 Frances Fendler: Oh yeah, Jessie Wolford: Mm-hmm. Holly Mchenry: replying Frances Fendler: I suppose Holly Mchenry: to your message. Frances Fendler: so, yeah. Angel Hoffmann: So maybe that would be something Holly Mchenry: So Angel Hoffmann: separate, Holly Mchenry: I don't think it Angel Hoffmann: yeah. Holly Mchenry: would effect our Frances Fendler: Yeah. Holly Mchenry: circuit Jessie Wolford: No. Holly Mchenry: board. Angel Hoffmann: Okay, so we'd have a simple circuit board and that would be an extra that would be in addition Holly Mchenry: Yeah. Angel Hoffmann: to it. Frances Fendler: Yeah. Holly Mchenry: And Angel Hoffmann: Oh Holly Mchenry: I don't Angel Hoffmann: that makes Holly Mchenry: think Angel Hoffmann: sense. Holly Mchenry: 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. Jessie Wolford: Mm-mm. Holly Mchenry: It might be useful to say like where are you remote. Angel Hoffmann: Okay. Holly Mchenry: Here I am, Jo. Frances Fendler: Yeah. Holly Mchenry: But I think that's maybe as far as that one could go? Jessie Wolford: Okay. Frances Fendler: Yeah. Angel Hoffmann: 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 Holly Mchenry: Yeah, just Angel Hoffmann: possibility. Holly Mchenry: as a fun way to find it. Angel Hoffmann: Okay. Um. Jessie Wolford: Simple circuit board. Simple push button. Okay. W Holly Mchenry: And it says that Jessie Wolford: w kinetic. Holly Mchenry: I think it said Jessie Wolford: You Holly Mchenry: the cost Jessie Wolford: were you Holly Mchenry: of that Jessie Wolford: were Holly Mchenry: isn't Jessie Wolford: wanting Holly Mchenry: too Jessie Wolford: to Holly Mchenry: much. Jessie Wolford: go for the kinetic power supply. Angel Hoffmann: Um yeah I I thought so just for just for ease of not having to replace the batteries. Jessie Wolford: Mm-hmm. Frances Fendler: Mm-hmm. Angel Hoffmann: Um. Jessie Wolford: And how does it get uh charged up? Angel Hoffmann: 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 Frances Fendler: Mm-hmm. Angel Hoffmann: the mechanism inside powers up through movement. Jessie Wolford: Okay. Angel Hoffmann: So you'd you'd move the remote around a little bit and then that powers it up to use it. Jessie Wolford: Okay. Frances Fendler: Yeah. Jessie Wolford: So the speech recognition was Are we going for speech recognition? No? 'Cause that required the advanced Holly Mchenry: Um I think it would be helpful to find it, but Frances Fendler: Just Holly Mchenry: I don't think it'd Angel Hoffmann: Uh yeah I Holly Mchenry: um Angel Hoffmann: think did we decide it didn't affect the circuit board, it just affected Holly Mchenry: Yeah, Frances Fendler: Just Holly Mchenry: I think so. Frances Fendler: just Angel Hoffmann: It was just Frances Fendler: for the call and Jessie Wolford: I had Frances Fendler: find Jessie Wolford: speech Frances Fendler: thing. Jessie Wolford: recognition requires advanced req Angel Hoffmann: Oh Jessie Wolford: require Angel Hoffmann: no th that's what that's what I thought, but maybe maybe it doesn't. Um Jessie Wolford: Oh. Angel Hoffmann: I think I might have got that wrong. Frances Fendler: 'Cause Jessie Wolford: So Frances Fendler: it's s it's Jessie Wolford: okay. Frances Fendler: separate isn't it, it's not part Jessie Wolford: Speech Frances Fendler: of the Jessie Wolford: recognition you reckon then is Angel Hoffmann: It's it's Jessie Wolford: s Angel Hoffmann: just an addition thing it's Jessie Wolford: simple. Angel Hoffmann: um yeah. Jessie Wolford: And so we would want it in as an extra because it doesn't appear to cost too much. Would Angel Hoffmann: 'Kay. Holly Mchenry: Mm-hmm. Jessie Wolford: that be Frances Fendler: Mm-hmm. Angel Hoffmann: 'Kay shall I pass Holly Mchenry: I Angel Hoffmann: on Holly Mchenry: think Angel Hoffmann: to you now? Jessie Wolford: In fact, it wouldn't really cost anymore, would it? Holly Mchenry: 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 Frances Fendler: Yeah. Holly Mchenry: like it's already kind Angel Hoffmann: I assume Holly Mchenry: of Angel Hoffmann: it would cost extra, but Maybe we maybe we'll find out how much that does cost and have to decide slightly Jessie Wolford: And Angel Hoffmann: later. Jessie Wolford: then have to change all change everything at the last minute. Okay. Holly Mchenry: Um. Jessie Wolford: S Holly Mchenry: 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? Jessie Wolford: Sorry? Holly Mchenry: It just seems to be skipping on without Jessie Wolford: Yeah, Holly Mchenry: us doing Jessie Wolford: I've Holly Mchenry: anything. Jessie Wolford: found that try and get it back. Angel Hoffmann: If you right click and then go onto a previous slide. Holly Mchenry: Ah it's alright. Um. Angel Hoffmann: Okay, Holly Mchenry: There wasn't much more to say about that, Angel Hoffmann: right. Holly Mchenry: 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 Angel Hoffmann: Yeah, Holly Mchenry: a kind of Angel Hoffmann: yeah. Holly Mchenry: 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 Angel Hoffmann: On the price, Holly Mchenry: on the materials Angel Hoffmann: yeah. Holly Mchenry: and the price it's not great. Jessie Wolford: So Holly Mchenry: Um Jessie Wolford: you were saying the scroll buttons Holly Mchenry: 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. Angel Hoffmann: 'Kay. Jessie Wolford: Mm-hmm. Holly Mchenry: Um but I don't know if that's really in our field? But Angel Hoffmann: I Holly Mchenry: that's Angel Hoffmann: guess Holly Mchenry: something Angel Hoffmann: I guess Holly Mchenry: that's Angel Hoffmann: we're going Holly Mchenry: out there. Angel Hoffmann: for the biggest market, maybe not, but Was it was it specified that we went for the biggest? Jessie Wolford: Well we're to go for the international market rather than a local market but that Holly Mchenry: Hmm. Jessie Wolford: 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. Frances Fendler: Mm-hmm. Angel Hoffmann: So maybe the children's remote should be like a a next step, but maybe I dunno for ours, maybe Jessie Wolford: Anyway Angel Hoffmann: we should Jessie Wolford: 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 Holly Mchenry: Hmm. Jessie Wolford: to take Frances Fendler: Mm-hmm. Jessie Wolford: care of specialist market segments. Frances Fendler: Mm-hmm. Holly Mchenry: Okay. Right Jessie Wolford: Is that Holly Mchenry: well that's something that we can Jessie Wolford: So so Holly Mchenry: be Jessie Wolford: what Holly Mchenry: aware Jessie Wolford: are we deciding Holly Mchenry: of. Jessie Wolford: to do Holly Mchenry: Um. Jessie Wolford: here? Holly Mchenry: I think because there's already um very good voice recognition technology out there, Jessie Wolford: Right. Holly Mchenry: and because ours might not cover the same functions that the leading brands do, it might Jessie Wolford: Mm-hmm. Holly Mchenry: be a good idea to market it as a um finder function. Jessie Wolford: Uh the fi Yeah, the finder function rather than as a speech function to find Angel Hoffmann: Yeah. Jessie Wolford: your remote. Holly Mchenry: Yeah. Angel Hoffmann: So Jessie Wolford: Okay. Angel Hoffmann: you also said for going for the international market um that some some maybe older people might not like the speech recognition. Holly Mchenry: Oh Angel Hoffmann: S Holly Mchenry: yeah. Angel Hoffmann: s so um Holly Mchenry: Different languages Angel Hoffmann: Yeah, Holly Mchenry: might not Angel Hoffmann: yeah. Holly Mchenry: be compatible. Angel Hoffmann: It w it would make it quite complicated, Jessie Wolford: Hmm. Angel Hoffmann: where um ours at least keeps it fairly simple and then the Holly Mchenry: Hmm. Frances Fendler: Mm-hmm. Holly Mchenry: Yeah, 'cause I think you program um this one yourself, like to say Angel Hoffmann: Yeah, Holly Mchenry: like Angel Hoffmann: yeah. Holly Mchenry: whatever you want to your question. Frances Fendler: Yeah and ours is quite a cheap device, so I don't know how much we'll be able to put into it. Angel Hoffmann: Yeah. Frances Fendler: Yeah. Jessie Wolford: So you'd have a finder feature rather than a voice recognition feature. Holly Mchenry: Hmm. Maybe Jessie Wolford: And you Holly Mchenry: unless Jessie Wolford: were talking Holly Mchenry: something else comes up. Jessie Wolford: Mm. And you were talking about scroll buttons? Holly Mchenry: Um yeah I think um I think we've decided that it's gonna increase the cost and give Jessie Wolford: Okay. Holly Mchenry: no real kinda extra Angel Hoffmann: Yeah. Holly Mchenry: benefit Jessie Wolford: b Holly Mchenry: and it's gonna decrease from the sleekness of it. Jessie Wolford: was that Angel Hoffmann: Yes Jessie Wolford: right? Angel Hoffmann: yes. Holly Mchenry: 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 Jessie Wolford: Okay. Holly Mchenry: remote. Jessie Wolford: So not to be focused on. Holly Mchenry: 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. Jessie Wolford: Good in in Holly Mchenry: I'm just Jessie Wolford: Flip Holly Mchenry: gonna check Jessie Wolford: it round Holly Mchenry: so I do Jessie Wolford: in ninety Holly Mchenry: this right. Jessie Wolford: degree a hundred and eighty degrees and have it up and down. An upside-down V_. Holly Mchenry: Um. Jessie Wolford: So that would show Holly Mchenry: What Jessie Wolford: that Holly Mchenry: did they Jessie Wolford: volume Holly Mchenry: say? Jessie Wolford: was going up, whereas the one underneath would see the volume going down. Holly Mchenry: 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 Jessie Wolford: Right. Holly Mchenry: right, can it? Oh well, no, they might see yeah, they might see this pointing down Jessie Wolford: Mm-hmm. Holly Mchenry: and think right that's gonna turn the volume down, whereas the actual button's pointing up, Jessie Wolford: Mm-hmm. Holly Mchenry: so the function is to turn the button up. So, Angel Hoffmann: So maybe we could have Holly Mchenry: be Angel Hoffmann: like Holly Mchenry: careful what you put on the buttons and be careful of the shape that you make them, Frances Fendler: Mm-hmm. Angel Hoffmann: Yeah. Holly Mchenry: because they might be kind of two um contradicting Angel Hoffmann: Yeah Holly Mchenry: kind Angel Hoffmann: I I Holly Mchenry: of Angel Hoffmann: know Holly Mchenry: shapes. Angel Hoffmann: what you mean. So maybe we could have volume written on the side and then up and down on the on the buttons themselves. Jessie Wolford: Yeah. Holly Mchenry: Yeah. Jessie Wolford: You could have volume Angel Hoffmann: Possible. Jessie Wolford: up and volume Volume up, down and Angel Hoffmann: Mm. Jessie Wolford: Like that. And 'cause the idea was to have limited um it was to have sizable amount of information on it. Angel Hoffmann: Yeah Jessie Wolford: Limited Angel Hoffmann: yeah. Jessie Wolford: number of buttons. Angel Hoffmann: Yeah. Jessie Wolford: 'Cause it was sixteen buttons, wasn't it that Angel Hoffmann: Yeah Jessie Wolford: were Angel Hoffmann: we got it down Frances Fendler: Mm-hmm. Angel Hoffmann: to not too many. Holly Mchenry: Um and I think that's all I had to say for that. Frances Fendler: Okay. Holly Mchenry: Um so what was the decision on the um design of the volume button? Angel Hoffmann: Um Are we are we gonna go through the design of all the buttons at the moment, or are we gonna Frances Fendler: I've I've got Angel Hoffmann: t Frances Fendler: some things to say about possible design things Angel Hoffmann: Yeah, Frances Fendler: from Angel Hoffmann: maybe we Holly Mchenry: Oh Jessie Wolford: Okay. Angel Hoffmann: should Holly Mchenry: okay. Angel Hoffmann: see yours Frances Fendler: trend Angel Hoffmann: first. Frances Fendler: watching. Cool. Frances Fendler: 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. Jessie Wolford: You know Frances Fendler: So Jessie Wolford: yourself. Frances Fendler: 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. Angel Hoffmann: 'Kay. Frances Fendler: 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? Holly Mchenry: I think if you start making the buttons fruit shaped, it might make it more complicated to use. Jessie Wolford: 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 Frances Fendler: Yeah. Jessie Wolford: thought Holly Mchenry: Yeah. Jessie Wolford: the functionality 'cause the people get cheesed off by things by having to read instructions et cetera, so. ... Holly Mchenry: 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 Jessie Wolford: Okay. Holly Mchenry: then that Frances Fendler: Maybe Holly Mchenry: wouldn't Frances Fendler: yeah. Holly Mchenry: get in the way of like kinda one Jessie Wolford: Now? Holly Mchenry: to nine, and it wouldn't confuse Jessie Wolford: Yeah. Holly Mchenry: the numbers. Jessie Wolford: Stand-by button. No th that that incorporates the trend whilst at the same time not confusing people, Frances Fendler: Mm-hmm. Jessie Wolford: if you're looking for functionality. Angel Hoffmann: Well I dunno I I guess maybe fruit and vegetables may be popular at the moment, but as we know Jessie Wolford: But Angel Hoffmann: how Jessie Wolford: what Angel Hoffmann: fickle Jessie Wolford: are they gonna be Angel Hoffmann: the Jessie Wolford: next Angel Hoffmann: fashion Jessie Wolford: Yeah. Angel Hoffmann: markets Jessie Wolford: What are they Angel Hoffmann: are, Jessie Wolford: gonna be Angel Hoffmann: maybe Frances Fendler: Yeah Jessie Wolford: next year. Frances Fendler: yeah. Holly Mchenry: Hmm. Jessie Wolford: But Holly Mchenry: S Jessie Wolford: but th but okay but you you can incorporate the tr If y if you change all the buttons Frances Fendler: Mm-hmm. Jessie Wolford: then you've got the problem that this year's fruit and veg, next year's uh I was gonna say animals or elephants Frances Fendler: Yeah, Jessie Wolford: or w whatever. Frances Fendler: I'm Jessie Wolford: That Frances Fendler: not Jessie Wolford: means you're constantly changing your production schedule, and you've gotta make different Frances Fendler: Yeah. Jessie Wolford: moulds and everything else, so that's not a good idea Frances Fendler: I'm Jessie Wolford: I would Frances Fendler: not I'm not Jessie Wolford: I would Frances Fendler: sure Jessie Wolford: suggest. Frances Fendler: what what what the sort of timescale we're thinking of selling the product over is. I don't know. Angel Hoffmann: I mean it just seems realistic that the remote control market isn't the kind of thing which takes in those kinds of fashion Frances Fendler: Yeah, Angel Hoffmann: trends. Frances Fendler: yeah. Angel Hoffmann: to something which is maybe more universal. Frances Fendler: Mm-hmm. Jessie Wolford: Well Holly Mchenry: But I suppose as long as it's quite a subtle design, Frances Fendler: Mm-hmm. Holly Mchenry: um Angel Hoffmann: We c Holly Mchenry: even Angel Hoffmann: maybe Holly Mchenry: if Angel Hoffmann: can Holly Mchenry: the design Angel Hoffmann: imply Holly Mchenry: kind Angel Hoffmann: a Holly Mchenry: of Angel Hoffmann: fruit Holly Mchenry: changes, Angel Hoffmann: shape possibly. Frances Fendler: Mm-hmm. Jessie Wolford: Ah d d But Angel Hoffmann: Maybe Jessie Wolford: if Angel Hoffmann: the spongy feel is something we could think Jessie Wolford: Mm-hmm. Angel Hoffmann: about, um. Jessie Wolford: Well. Yep. Angel Hoffmann: Maybe still with a rubber design we could Jessie Wolford: 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? Frances Fendler: Yeah. Holly Mchenry: It Jessie Wolford: So Holly Mchenry: seems like you're Jessie Wolford: the Holly Mchenry: gonna have rubber cases, as well as buttons. Frances Fendler: Yeah. Yeah. Angel Hoffmann: Um. Holly Mchenry: And that you can make them curved or double-curved and that would be the kind of Angel Hoffmann: Oh Holly Mchenry: sleek Angel Hoffmann: yeah Holly Mchenry: and sexy Angel Hoffmann: yeah one of Holly Mchenry: look. Angel Hoffmann: the things were if you had rubber buttons then you had to have a rubber case. Jessie Wolford: Mm-hmm. Holly Mchenry: Oh Angel Hoffmann: Um Holly Mchenry: right, that Angel Hoffmann: oh Holly Mchenry: fits, Angel Hoffmann: no no Holly Mchenry: doesn't Angel Hoffmann: no sorry Holly Mchenry: it? Angel Hoffmann: 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. Holly Mchenry: Right. Angel Hoffmann: Um. Jessie Wolford: Rubber buttons require rubber case. Holly Mchenry: And that would fit in with what we want, wouldn't it, for the Frances Fendler: Mm-hmm. Holly Mchenry: spongy feel, to have everything rubber. Jessie Wolford: 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 Frances Fendler: Mm-hmm. Jessie Wolford: 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 Frances Fendler: Mm-hmm. Jessie Wolford: last year's stock and therefore you're selling it or having to sell it at a discounted rate which you wouldn't want Frances Fendler: Yeah. Jessie Wolford: to do. Whereas if you kept the product the same but you could have a difference from year to year, uh it seems to Frances Fendler that you could Frances Fendler: Okay. Jessie Wolford: incorporate a fashion statement if you like, rather than changing the whole kit and caboodle. Frances Fendler: Yeah. Angel Hoffmann: Yeah. Jessie Wolford: 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 Angel Hoffmann: I suppose we maybe Frances Fendler: Mm-hmm. Angel Hoffmann: are limited in the fact that we still have to put the logo on the actual Jessie Wolford: Well, Angel Hoffmann: would Jessie Wolford: you might Angel Hoffmann: or Jessie Wolford: be limited Angel Hoffmann: not. Jessie Wolford: in space, that yes. Angel Hoffmann: Yeah. Frances Fendler: Mm-hmm. Jessie Wolford: Well Holly Mchenry: Hmm. Jessie Wolford: you two are obviously gonna find that out fairly quickly when you move over to your kit modelling stage as Angel Hoffmann: Yes Jessie Wolford: to uh Angel Hoffmann: yes. Jessie Wolford: how much pl how much how much how pliable is Plasticine. Angel Hoffmann: 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 Frances Fendler: Mm-hmm. Angel Hoffmann: whether that would be too much to incorporate in production, whether that would just increase Jessie Wolford: Hmm. Angel Hoffmann: the costs, make it more complicated. Frances Fendler: That's Jessie Wolford: So Frances Fendler: possibly Jessie Wolford: you're talking Frances Fendler: it. Jessie Wolford: there about uh changing changing the casing. Angel Hoffmann: Yeah the a the actual the sort of the look from the outside, so where the buttons would stay the same, and Frances Fendler: Mm-hmm. Angel Hoffmann: the general function of the remote would stay the same, but you could change the the way it looked. Holly Mchenry: Yeah and then you could have Oh but you still would have to have the logo on every new case, Angel Hoffmann: Yeah, that's Holly Mchenry: but you could have Angel Hoffmann: true. Holly Mchenry: like pink cases for girls and Jessie Wolford: Yeah Holly Mchenry: red Jessie Wolford: you Holly Mchenry: ones Jessie Wolford: you could Holly Mchenry: and Jessie Wolford: do a Holly Mchenry: things Jessie Wolford: colour Holly Mchenry: like Jessie Wolford: change, so therefore Holly Mchenry: that. Jessie Wolford: you would yeah yeah I mean that's effectively what they did with the with the mobile phones, was Angel Hoffmann: Yeah. Jessie Wolford: to have some in blue, some in red, some in rather Frances Fendler: Mm-hmm. Jessie Wolford: than all in black or, you know, which Holly Mchenry: Hmm. Jessie Wolford: four do you want, as long as it's black? But uh so Angel Hoffmann: So it is a possibility, um. Holly Mchenry: But we are supposed to use the um company colour scheme, aren't we? We haven't Jessie Wolford: Yes Angel Hoffmann: Oh Holly Mchenry: really Angel Hoffmann: okay Holly Mchenry: seen Jessie Wolford: oh that's Holly Mchenry: that yet Jessie Wolford: true Frances Fendler: Yeah. Angel Hoffmann: yes Jessie Wolford: uh Angel Hoffmann: that Jessie Wolford: that Angel Hoffmann: is Holly Mchenry: It Jessie Wolford: might Holly Mchenry: might Jessie Wolford: no Holly Mchenry: and we might be able to do both but it might clash with certain things. Jessie Wolford: 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 Frances Fendler: Mm-hmm. Jessie Wolford: 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 Frances Fendler: Mm-hmm. Jessie Wolford: 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 Angel Hoffmann: Mm-hmm. Jessie Wolford: 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 Frances Fendler: Mm-hmm. Jessie Wolford: their own uh badge over the top. Frances Fendler: Mm-hmm. Jessie Wolford: 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 Angel Hoffmann: Mm-hmm. Jessie Wolford: you know a white casing Angel Hoffmann: Yeah. Jessie Wolford: uh product. So. Holly Mchenry: Hmm. Angel Hoffmann: 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. Frances Fendler: Mm-hmm. Holly Mchenry: Well if it's for young people, um Frances Fendler: Yeah. Holly Mchenry: like the phone generation, that sort of Angel Hoffmann: Yeah. Holly Mchenry: thing'd probably go down well, and the market research has been on that side of things, hasn't it? Frances Fendler: 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 Angel Hoffmann: Yeah I suppose, Frances Fendler: i if Angel Hoffmann: where you Frances Fendler: it Angel Hoffmann: you keep the remote hidden Jessie Wolford: It's Angel Hoffmann: under Jessie Wolford: uh in Angel Hoffmann: the sofa Jessie Wolford: in the Angel Hoffmann: most Jessie Wolford: house, Angel Hoffmann: of the time. Jessie Wolford: isn't it, Frances Fendler: Yeah. Jessie Wolford: I suppose. Frances Fendler: I Holly Mchenry: Okay, Frances Fendler: think Holly Mchenry: so if we just went for one colour of a rubber case Jessie Wolford: So Frances Fendler: Mm-hmm. Jessie Wolford: don't change case. Change case colour. And we're sort of saying no to that. Holly Mchenry: Did we decide on the rubber case? The spongy feel, or did we think that that might go as a trend? Frances Fendler: 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 Jessie Wolford: Yeah. Frances Fendler: just the fact that it was a rubber case is probably less less of Angel Hoffmann: Yeah, Frances Fendler: something Angel Hoffmann: less likely Frances Fendler: that Angel Hoffmann: to Jessie Wolford: Sounds Frances Fendler: y Jessie Wolford: reasonable. Frances Fendler: you're gonna end up hating in a year, you know. Angel Hoffmann: So then Jessie Wolford: If Angel Hoffmann: th th that Jessie Wolford: you're going Angel Hoffmann: would Jessie Wolford: for fashion trends like that they'll need t you'd have to have interchangeable cases so that you could or Angel Hoffmann: Yeah. Jessie Wolford: 'cause otherwise someone's Frances Fendler: Yeah. Jessie Wolford: gonna have to buy a complete new remote rather than just a case. Frances Fendler: Mm. Angel Hoffmann: 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. Jessie Wolford: Okay. Frances Fendler: Okay. Angel Hoffmann: Um. Holly Mchenry: 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. Angel Hoffmann: Um. Holly Mchenry: I'm Angel Hoffmann: Mayb Holly Mchenry: not exactly sure Angel Hoffmann: Maybe Holly Mchenry: what Angel Hoffmann: curves Holly Mchenry: these things look Angel Hoffmann: give Holly Mchenry: like. Angel Hoffmann: it like the slightly more aesthetic feel? But the double curve wouldn't require us to perform miracles with the Plasticine. Holly Mchenry: Well it says that Frances Fendler: When you say d when you say double-curved, what what exactly does that mean? Holly Mchenry: I'm not exactly sure. Frances Fendler: Okay. Holly Mchenry: 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 Frances Fendler: No you're Holly Mchenry: in, am Frances Fendler: not Holly Mchenry: I? Frances Fendler: connected Holly Mchenry: That doesn't Frances Fendler: to Frances Fendler Holly Mchenry: help. Frances Fendler: anymore. Jessie Wolford: One one thing to Holly Mchenry: Shall Jessie Wolford: cons Holly Mchenry: I just turn it round for time? Jessie Wolford: one thing to consider is that in some ways you want um Frances Fendler: That should come up. Jessie Wolford: 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 Frances Fendler: Mm. Jessie Wolford: store them up on top Angel Hoffmann: Mm-hmm. Jessie Wolford: 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. Angel Hoffmann: Yeah yeah. Frances Fendler: Mm-hmm. Holly Mchenry: Hmm. Angel Hoffmann: So shall we go through quickly and just work out what we've decide on, if we have to kind Jessie Wolford: So Angel Hoffmann: of Jessie Wolford: but Frances Fendler: Yeah. Holly Mchenry: Um it's not very clear up there, but you Jessie Wolford: No. Holly Mchenry: can see some of them have got kind of bulges, like Jessie Wolford: Mm Holly Mchenry: the second Jessie Wolford: yep. Holly Mchenry: one and the end one Frances Fendler: Right. Holly Mchenry: 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, Frances Fendler: That's Holly Mchenry: or? Frances Fendler: what I was trying to work out. Holly Mchenry: But um Jessie Wolford: Oh right. Holly Mchenry: it is a kinda sleeker look if you've got curves in there. Frances Fendler: Shall we Jessie Wolford: S so do you wanna go for curves, more curves? We're meant Holly Mchenry: Definitely Jessie Wolford: to be f Holly Mchenry: a single, Jessie Wolford: we're meant to Holly Mchenry: maybe Jessie Wolford: be finishing Holly Mchenry: a double. Jessie Wolford: this meeting in about a minute or so. Frances Fendler: Yeah. Angel Hoffmann: 'Kay, so Holly Mchenry: Shall Angel Hoffmann: shall Holly Mchenry: we Angel Hoffmann: we Holly Mchenry: go for Angel Hoffmann: quickly Holly Mchenry: single curve, just to compromise? Angel Hoffmann: We'll go for single curve, yeah. Frances Fendler: Okay. Jessie Wolford: Okay, Angel Hoffmann: Single curve. Jessie Wolford: curved or double curved? So it's single curved. Angel Hoffmann: So did we did we decide on the kinetic power supply? The Frances Fendler: Yeah I think Angel Hoffmann: one Holly Mchenry: Yeah. Angel Hoffmann: you move Frances Fendler: that Angel Hoffmann: around? Frances Fendler: think that's a Jessie Wolford: Yep. Frances Fendler: good Angel Hoffmann: Okay. Frances Fendler: idea. Angel Hoffmann: Um Holly Mchenry: And the rubber push buttons, Frances Fendler: Rubber Holly Mchenry: rubber case. Frances Fendler: Rubber buttons and case. Holly Mchenry: Um and we don't really know much about the colour scheme or logo yet do we, but Angel Hoffmann: Oh we Holly Mchenry: possibly Angel Hoffmann: ca Holly Mchenry: a sticker. Angel Hoffmann: 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 Frances Fendler: Yeah. Angel Hoffmann: by not having anything too complicated. Holly Mchenry: Yeah. Angel Hoffmann: Um. Holly Mchenry: Yeah and and the voice recognition, we can use that can't we, just to find it. Frances Fendler: Yeah Holly Mchenry: Without Jessie Wolford: Yes. Angel Hoffmann: Um. Frances Fendler: yeah. Holly Mchenry: affecting the circuit board. Jessie Wolford: Yep. Angel Hoffmann: And see we could always decide against it if something comes up that's just something to that we seemed to leave out. Frances Fendler: And then are we going for sort of one button shaped like a fruit. Holly Mchenry: Yeah that Frances Fendler: Or Holly Mchenry: sounds Frances Fendler: veg. Holly Mchenry: like it wouldn't do too much harm in a couple of years. Uh what sort of shape do we want? Frances Fendler: Don't know, maybe Jessie Wolford: So Frances Fendler: just Jessie Wolford: we've got spongy feel buttons as well, have we? As well as or Frances Fendler: Yeah. Jessie Wolford: w or was that Frances Fendler: That's ru rubber buttons, yeah. Angel Hoffmann: Yeah, it was Jessie Wolford: So Angel Hoffmann: just Jessie Wolford: it's rubber buttons, so it's not really spongy feel buttons, it's just rubber buttons. Angel Hoffmann: 'Kay. Frances Fendler: Yeah. Jessie Wolford: With a rubber Holly Mchenry: Yeah, Frances Fendler: Reasonably Jessie Wolford: case Holly Mchenry: so it's Frances Fendler: spongy Holly Mchenry: not Jessie Wolford: right? Holly Mchenry: too wacky. Frances Fendler: I guess, yeah. Jessie Wolford: And the standby button is gonna be different. Frances Fendler: Yeah okay. Holly Mchenry: 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. Frances Fendler: Yeah. Jessie Wolford: Okay so what what shape are we making the standby button? Frances Fendler: Apple? Holly Mchenry: Vote? Jessie Wolford: A apple. Oh oh Frances Fendler: Yeah. Jessie Wolford: Sorry? Holly Mchenry: Shall we vote on it? Frances Fendler: Yeah. Angel Hoffmann: We will go Holly Mchenry: Anyone Angel Hoffmann: for the a Holly Mchenry: got Angel Hoffmann: a Holly Mchenry: any Frances Fendler: Apple Angel Hoffmann: a Holly Mchenry: suggestions? Angel Hoffmann: apples Frances Fendler: apple Angel Hoffmann: apples. Frances Fendler: a Holly Mchenry: Right. Frances Fendler: a qu Quite a big one, as well. Holly Mchenry: Okay. Ah. Frances Fendler: A big apple. Uh Holly Mchenry: Well it could be red. Frances Fendler: Could be a red apple, yeah. Either, don't mind. Jessie Wolford: A red apple? Holly Mchenry: Yeah Jessie Wolford: Is it? Holly Mchenry: 'cause we wanna incorporate a bit of colour if we can, once we find out Angel Hoffmann: Okay. Holly Mchenry: um Angel Hoffmann: 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. Frances Fendler: Mm-hmm. Angel Hoffmann: Um. Holly Mchenry: Yeah. Yeah that seems pretty straight forward. Angel Hoffmann: Yeah. Holly Mchenry: 'Cause most of them will just be kind of mainly circular or like very plain. Angel Hoffmann: 'Kay. Frances Fendler: Mm-hmm. Okay. Jessie Wolford: Sorry what was that last thing again there? Holly Mchenry: Uh just to keep the shape of the buttons simple. Jessie Wolford: Right much option on that. I thought you were going for a single curve and Holly Mchenry: Ah just the uh shape of the buttons. Jessie Wolford: Alright. Angel Hoffmann: And j yeah, just keeping the sort of the labelling them labelling of them fairly simple as well. Holly Mchenry: Yeah. Angel Hoffmann: Fairly sort of self explanatory. Jessie Wolford: Right, so shape of buttons simple. Jessie Wolford: 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. Angel Hoffmann: Okay. Jessie Wolford: Okay, so um. Angel Hoffmann: Is that the end? Okay. Frances Fendler: Looks like it. Jessie Wolford: Okay.

Jessie Wolford reviewed the minutes from the last meeting. Angel Hoffmann 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. Holly Mchenry 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. Frances Fendler 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. Jessie Wolford instructed Holly Mchenry and Angel Hoffmann to construct the prototype.

amisum

train

Mirta Hyde: So is Why not save that. Ann Riordan: No, you'll ha have to open it up from elsewhere. Mirta Hyde: Do you want to replace existing file, no. I actually tried to transfer it to My Documents, but Ann Riordan: Yeah, you have to you have to close that window. 'Cause that's the save one isn't it, so And then find it. Mirta Hyde: spreadsheet. Mirta Hyde: Yeah, but I've ta uh right, I'll just re-do it. That's the easiest way. Mirta Hyde: Right. Amanda Brazill: Well we've made our prototype anyway. We can have a good look at that. Ann Riordan: You pass it round to have a look. Amanda Brazill: Mm-hmm. Y no, it's a slightly curved around the sides. Ann Riordan: Mm very nice. Amanda Brazill: Um, it's almost curved like up to the main display as well. Ann Riordan: Mm-hmm. Amanda Brazill: 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 Ann Riordan: Mm-hmm. Amanda Brazill: on the little line. And we've got the stick on the button with the company logo on. Ann Riordan: Mm-hmm. Edith Schnieders: We also have a apple slash cherry design at the top. Ann Riordan: So it is, yeah. Cherry would be alright actually. Yeah. Amanda Brazill: 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 Edith Schnieders: Yeah, Amanda Brazill: Mac. Edith Schnieders: yeah, we might get a Ann Riordan: Mm-hmm. Copyright, yeah. What's this Amanda Brazill: Yeah, Ann Riordan: this Amanda Brazill: and cherries Ann Riordan: one? Amanda Brazill: are fun, summery. Ann Riordan: What's that one there? Amanda Brazill: Ah, that's the mute. Ann Riordan: Oh, okay. Edith Schnieders: For the M_. Ann Riordan: Right. Amanda Brazill: It it'd probably have to be labelled mute. But Edith Schnieders: They're Amanda Brazill: um, Edith Schnieders: thinking Amanda Brazill: we didn't have anything small enough to write. Ann Riordan: Okay. Edith Schnieders: For the first time, well it was hard to get the h um the actual labelling on the individual buttons. Ann Riordan: Mm-hmm. Amanda Brazill: 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. Ann Riordan: Mm-hmm. Amanda Brazill: The mute could possibly be a bit smaller. Edith Schnieders: Hum, you separate off in colour the volume related buttons from the channel related buttons, so you've got the volume in orange on Ann Riordan: Yeah. Edith Schnieders: design there, and the the channel is in blue. Amanda Brazill: Mm-hmm. Mirta Hyde: R right. Amanda Brazill: Yeah, and we chose Mirta Hyde: Um, Amanda Brazill: a V_ Mirta Hyde: all Amanda Brazill: plus Mirta Hyde: these things Amanda Brazill: and V_ minus. Mirta Hyde: 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 Ann Riordan: I'll see if I can find them. Mirta Hyde: 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 Edith Schnieders: Yeah, Mirta Hyde: open Edith Schnieders: sis Mirta Hyde: to debate, I suppose. Amanda Brazill: Well Ann Riordan: Have Amanda Brazill: 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 Mirta Hyde: An Amanda Brazill: where the colour buttons came from. Mirta Hyde: important consideration. Right, okay so um And the second one underneath would be the idea for the Edith Schnieders: Yes, we'll have the slide-away. Mirta Hyde: Right, okay. Edith Schnieders: Bottom. Mirta Hyde: 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 Ann Riordan: Mm-hmm. Mirta Hyde: um our previous meeting. So Ann Riordan: Mm-hmm. Mirta Hyde: other than the fact that it doesn't have the second layer, Edith Schnieders: Mm-hmm. Mirta Hyde: 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, Edith Schnieders: Yes, yes. Mirta Hyde: and the bit after the evaluation criteria is uh is the finance. Ann Riordan: Right. Edith Schnieders: Okay. Mirta Hyde: 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. Edith Schnieders: Mm-hmm. Mirta Hyde: Um, and whether it would uh Ann Riordan: So if you had to do a presentation or will you just work it on the prototype? Amanda Brazill: Uh, Edith Schnieders: This this is Amanda Brazill: that's Edith Schnieders: a yes, this Ann Riordan: That's Edith Schnieders: is our presentation Ann Riordan: the pr Amanda Brazill: it. Edith Schnieders: of the prototype. Ann Riordan: Okay. Mirta Hyde: 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 Edith Schnieders: Mm-hmm. Mirta Hyde: uh twelve and a half Euros. So, there's no redesign. So that should uh Right, so, seems to Ann Riordan that the thing that I have to do is is quickly find that uh Edith Schnieders: Could we get this on the board just so we can see or do you mean do you have the figures there? Ann Riordan: we should plug it in. Mirta Hyde: Right. Ann Riordan: Do you wanna plu do you wanna plug it in into the the Mirta Hyde: Okay. Ann Riordan: back of that one. Edith Schnieders: 'Kay, Alice. So, Ann Riordan: We could do it as Edith Schnieders: sh Ann Riordan: we d go along, the production costs, looking at the prototype. Mirta Hyde: Right. Edith Schnieders: 'Kay this should be then. Mirta Hyde: 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, Edith Schnieders: Mm-hmm. Mirta Hyde: we had decided that we're having rubber buttons and Edith Schnieders: Have a push button interface. Mirta Hyde: Okay. W Edith Schnieders: Um Mirta Hyde: the button supplements. Well, originally, I thought there would just be uh one in there because it was the one red apple. Edith Schnieders: Um Mirta Hyde: But So the so the real w the real question then would come in. Do you make all the buttons Ann Riordan: Well do we'll do it Mirta Hyde: O Ann Riordan: on the prototype, so do two, see how much it is. Mirta Hyde: Well, so we've got one special button form, which was the apple. Everything Ann Riordan: Yeah. Mirta Hyde: else Edith Schnieders: Yeah. Mirta Hyde: is gonna be a standard. Edith Schnieders: And then we'd Mirta Hyde: We've Edith Schnieders: have Mirta Hyde: got special material, rubber, wood, titanium, et cetera and that, so, Ann Riordan: Mm-hmm. Mirta Hyde: I was originally, I was thinking rubber wasn't special, but according to this, maybe it is. Ann Riordan: Mm-hmm. Mirta Hyde: So And the r I mean effectively we've got sixteen buttons that we're gonna have on there. Ann Riordan: Yeah. I think you just do one, don't you, for the Mirta Hyde: 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 Ann Riordan: I think I think it's just it's just a one. Else Mirta Hyde: 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. Ann Riordan: 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. Mirta Hyde: Mm. Ann Riordan: I don't know though. Mirta Hyde: I would Every design change is uh Ann Riordan: Hmm. Mirta Hyde: 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. Ann Riordan: Mm-hmm. Mirta Hyde: 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. Ann Riordan: Mm-hmm. Mirta Hyde: And if What happened? Ann Riordan: You've just gone off the window into another one. It's on the bottom row. Amanda Brazill: Maybe if you just minimise that one in the top right-hand corner of the little box. Yeah. Mirta Hyde: 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. Ann Riordan: Yeah. Yeah. Mirta Hyde: Okay. Edith Schnieders: So that's nine point one there so we've got some Mirta Hyde: So it Well, is it s is no, it's nine point seven I've got. Edith Schnieders: 'Kay. Ann Riordan: Mm-hmm. Mirta Hyde: Okay. Edith Schnieders: Just give us a bit of Mirta Hyde: So, that would that would work out fine if uh Ann Riordan: Mm-hmm. Mirta Hyde: uh as assuming your correction are are assuming that that one change covers all the buttons, then that would be fine. Ann Riordan: Mm-hmm. Mirta Hyde: And there's Amanda Brazill: S Mirta Hyde: nothing else as far as I can see that we we had uh planned to put Edith Schnieders: I switching Mirta Hyde: on. Edith Schnieders: 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 Mirta Hyde: Uh-huh. Edith Schnieders: guess the sample sens sample speaker would be the voice recognition thing, Ann Riordan: Yeah. Edith Schnieders: which puts up to four? We should be slightly over our budget but if we gather something else down to slightly lower standard, Ann Riordan: Yeah. Edith Schnieders: and maybe go with the one the special form buttons, then we could have Mirta Hyde: Well, Edith Schnieders: the Mirta Hyde: hold Edith Schnieders: speech Mirta Hyde: on. if we Okay, that gives us twelve point seven Edith Schnieders: 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 Mirta Hyde: But remember Edith Schnieders: without Mirta Hyde: 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 Edith Schnieders: Yeah, yeah. Amanda Brazill: Um, D Edith Schnieders: Um Amanda Brazill: 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 Ann Riordan: Yeah, we have to have Amanda Brazill: sample Ann Riordan: it Amanda Brazill: speaker be separate things, Edith Schnieders: Oh Amanda Brazill: so you Edith Schnieders: possibly, Amanda Brazill: need both Ann Riordan: Yeah. Amanda Brazill: of them? Edith Schnieders: yeah, yeah maybe. Maybe um we'd be giving up on the kinetic. Um Mirta Hyde: And go Ann Riordan: Yeah. Mirta Hyde: for battery instead. That would give Edith Schnieders: We should Mirta Hyde: you one less. Edith Schnieders: Yeah, that would save us one, though we'd still be slightly Mirta Hyde: But you Edith Schnieders: ov Mirta Hyde: reckon that i I mean the thing is that you wanted to a appeal to people and not have to replace batteries. Edith Schnieders: 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. Ann Riordan: Mm-hmm. Edith Schnieders: 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 Ann Riordan: Mm-hmm. Edith Schnieders: have the batteries, or whatever they would prefer not uh You know what I mean? The the problem was the battery's Mirta Hyde: Mm-hmm. Edith Schnieders: running out and losing the um Ann Riordan: Yeah. Edith Schnieders: losing the remote. So you gotta decide which of those is more important to them. Mirta Hyde: But which do you think or which do we think is the more important of the options? Amanda Brazill: I think the Mirta Hyde: In Amanda Brazill: voice Mirta Hyde: a sense, Amanda Brazill: recognition. Mirta Hyde: 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 Ann Riordan: Shall Edith Schnieders: Yeah. Ann Riordan: we Mirta Hyde: product. Ann Riordan: 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? Mirta Hyde: Mm-hmm. Makes Ann Riordan: Okay. Edith Schnieders: Okay. Mirta Hyde: sense. Ann Riordan: 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. Mirta Hyde: Sorry, do you want that Ann Riordan: Yeah, Mirta Hyde: back Ann Riordan: I Mirta Hyde: up? Ann Riordan: just had a presentation to Mirta Hyde: Right. Ann Riordan: do. Amanda Brazill: But I do think uh the v uh voice recognition thing would be more impressive than the fact that it's got no battery. Mirta Hyde: 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. Ann Riordan: 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. Ann Riordan: 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, Edith Schnieders: Okay. Ann Riordan: so I'll go over here. Ann Riordan: Right. So the first one is um, does the product look and feel fancy. So if we do a sort of a one So Edith Schnieders: Okay, well we have a single curve, which was maybe like the Ann Riordan: Yeah. Edith Schnieders: feel of the product's quite good. So Ann Riordan: Okay. Edith Schnieders: uh Um, then we have the rubber kinda spongy feel, which was Ann Riordan: Yeah. Edith Schnieders: in at the time. Ann Riordan: Yeah. Edith Schnieders: Um, Ann Riordan: Yeah. Edith Schnieders: sorry that'd be considered fancy. Amanda Brazill: Yeah, I'd maybe give it a a two. Ann Riordan: Of but I think What Is one false, or is t one true? I forgot. Amanda Brazill: One's true. Ann Riordan: One's true, and okay. Seven's Amanda Brazill: And a Ann Riordan: fal Amanda Brazill: four is neutral. Ann Riordan: Four is neutral, okay. So Edith Schnieders: So maybe maybe a two. Amanda Brazill: Yeah, 'cause we haven't got the double curve, so we can't like Mirta Hyde: Go Amanda Brazill: say it's Mirta Hyde: for Ann Riordan: Right. Amanda Brazill: completely Mirta Hyde: one. Amanda Brazill: true. But Mirta Hyde: Yep. Amanda Brazill: it's pretty close. We've got almost everything we can. Ann Riordan: Okay. Mirta Hyde: Okay. Ann Riordan: 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, Edith Schnieders: Yeah. Ann Riordan: you Amanda Brazill: Yeah. Ann Riordan: think? Okay. Mirta Hyde: Yeah, why not not, m m maybe nearer three. Ann Riordan: Okay, well d you do Mirta Hyde: Two Ann Riordan: an average Mirta Hyde: three. Ann Riordan: at the end, I don't know. Um Mirta Hyde: 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, Ann Riordan: Uh-huh. Mirta Hyde: and we're not going for Ann Riordan: This Mirta Hyde: these Ann Riordan: this Mirta Hyde: options. Ann Riordan: is just this is just for like the look. Does it sort of look Mirta Hyde: Mm-hmm. Ann Riordan: fancy rather than functional. So Amanda Brazill: Yeah, I suppose that might be in the technical innovation bit. Ann Riordan: Yeah, so that so sh should we go for a a two on that? Mirta Hyde: Okay. Ann Riordan: 'Kay. And I mean, how much does the product demonstrate technical innovation do Edith Schnieders: Um, Ann Riordan: you reckon? Edith Schnieders: 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 Ann Riordan: D Edith Schnieders: amount Ann Riordan: yeah. Edith Schnieders: of speech recognition. Ann Riordan: Okay. So, what about the pr The prototype as it is, Edith Schnieders: Um Ann Riordan: we've got we've got the speech recognition on it, haven't we. Edith Schnieders: But not the kinetic. Ann Riordan: But not the kinetic. Edith Schnieders: Like the power. Mirta Hyde: No. 'Cause you can't afford that w we Edith Schnieders: No, Mirta Hyde: took Edith Schnieders: we c Mirta Hyde: that out Edith Schnieders: ca Mirta Hyde: too. Edith Schnieders: yeah, we can't afford both. Ann Riordan: Alright, Mirta Hyde: Didn't Ann Riordan: so Mirta Hyde: you? Or Ann Riordan: So it doesn't It's pretty The prototype as it is isn't sort of um fulfilling the Edith Schnieders: No may is maybe about Amanda Brazill: Maybe Edith Schnieders: neutral Amanda Brazill: a three. Edith Schnieders: plus it it it's got something, but it hasn't got Ann Riordan: Okay. Yeah. Mirta Hyde: Well, wait a minute. In Amanda Brazill: I Mirta Hyde: thirteen Amanda Brazill: would give Mirta Hyde: point Amanda Brazill: it Mirta Hyde: seven Amanda Brazill: more than Mirta Hyde: we Amanda Brazill: a four. Mirta Hyde: do have kinetic. The problem is we have to reduce down from there to Edith Schnieders: Right. Mirta Hyde: get it down to twelve point five. Edith Schnieders: Okay. Mirta Hyde: 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. Ann Riordan: Right, Mirta Hyde: And Ann Riordan: okay. Mirta Hyde: if Edith Schnieders: 'Kay. Mirta Hyde: 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 Ann Riordan that if you're going for the sample sensors speaker, you're basically then having to go for the cheaper options on everything else. Ann Riordan: Mm-hmm. Edith Schnieders: Okay. Mirta Hyde: And Edith Schnieders: Um Mirta Hyde: 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 Ann Riordan: S Mirta Hyde: uh point two, Ann Riordan: I'm just gonna check my email. Mirta Hyde: which would be come from the button supplements category. Ann Riordan: I'm just gonna check exactly what it said in the email for um the product. Amanda Brazill: 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 Mirta Hyde: Um, Amanda Brazill: stand the Mirta Hyde: interface Amanda Brazill: test of time better. Mirta Hyde: type um, well plastic rather than rubber. Ann Riordan: Okay. But I Mirta Hyde: 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. Edith Schnieders: Mm-hmm. Amanda Brazill: Mm-hmm. Mirta Hyde: And that would enable you to to do it. Ann Riordan: Okay. Edith Schnieders: So it says if we make a slightly more fancy, then we lose points innovation, and if we make it more innovative innovative, Mirta Hyde: Yeah. Edith Schnieders: then we lose Ann Riordan: Yeah. Edith Schnieders: points on Mirta Hyde: Ye Edith Schnieders: it being fancy, so Ann Riordan: 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. Mirta Hyde: Well, okay, but Amanda Brazill: Well, I suppose it's rubber as it is, isn't it. Mirta Hyde: It's rubber as it is, yes. Ann Riordan: bit or something, 'cause we've got both the both the um Mirta Hyde: We Ann Riordan: the Mirta Hyde: got we've Amanda Brazill: Yeah. Ann Riordan: speech Mirta Hyde: we've got thirteen point seven and we've got it in at the moment and if Ann Riordan: Yeah. Mirta Hyde: and basically, we're going to reduce down from that. But the current one, you'd say would be fancy, would be too Edith Schnieders: Yeah, yeah. Ann Riordan: Yeah. Um, for for innovation, so we've got the speech the speech thing, and Mirta Hyde: Mm-hmm. I would've said about a two as well. Ann Riordan: Do you reckon a two? Amanda Brazill: Yeah, two or three. I'd be happy with a two. Ann Riordan: Okay. Mirta Hyde: Oh. Ann Riordan: Two. And the next one is I'll have to get it back up now. Mirta Hyde: 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. Amanda Brazill: Yeah. Ann Riordan: Okay. Amanda Brazill: Yeah, I would say so as well. Mirta Hyde: Um, incorporates elements of fashion to attract buyer. Well, Edith Schnieders: Um Mirta Hyde: yeah it certainly has some. Amanda Brazill: Yeah, it's got the cherry Edith Schnieders: It does, yeah. Amanda Brazill: and the Ann Riordan: Um Amanda Brazill: sponginess. Mirta Hyde: Yep. Ann Riordan: Say about a three maybe? Mirta Hyde: I don't know. Edith Schnieders: Yeah, Amanda Brazill: Maybe Edith Schnieders: m um Amanda Brazill: two? Edith Schnieders: Yeah, it was just doing it quite well. Um, I Mirta Hyde: Yep. Edith Schnieders: think we're gonna have to lose some of these, but the moment, as it stands, it's um Mirta Hyde: Yeah, I Ann Riordan: It's Mirta Hyde: woulda Ann Riordan: a Mirta Hyde: said Ann Riordan: two. Mirta Hyde: two would seem reasonable. The product is a recognisable real r uh Ann Riordan: Yeah, this Mirta Hyde: reaction Ann Riordan: is Mirta Hyde: product? Edith Schnieders: Uh Ann Riordan: This Edith Schnieders: 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 Amanda Brazill: Yeah, that's Ann Riordan: Yeah. Edith Schnieders: where Amanda Brazill: a bit Edith Schnieders: it Amanda Brazill: rough Edith Schnieders: comes Amanda Brazill: at the minute. Edith Schnieders: from. Ann Riordan: So this is about sort of the corporate Mirta Hyde: Oh. Ann Riordan: image of like new sort of sleek technology and all that sort of thing, as well Edith Schnieders: Okay. Ann Riordan: 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. Amanda Brazill: Uh, Ann Riordan: What Amanda Brazill: well Mirta Hyde: S Ann Riordan: do Amanda Brazill: it's Ann Riordan: y Amanda Brazill: got the same um speech feature as the coffee machine. Edith Schnieders: Also it's kind of spongy rubberiness is maybe bit more kinda comfortable than kinda sleek and new Ann Riordan: Yeah. Edith Schnieders: age. Um, Ann Riordan: Uh-huh. Edith Schnieders: it depends which way you look at it. Mirta Hyde: Okay. So Ann Riordan: So Mirta Hyde: we're going for a Edith Schnieders: Maybe a kind of Mirta Hyde: two, Edith Schnieders: three? Uh d Ann Riordan: Two Mirta Hyde: three? Amanda Brazill: Yeah, Ann Riordan: or three? Amanda Brazill: 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. Mirta Hyde: Sure. Amanda Brazill: But um, Ann Riordan: Yeah. Amanda Brazill: I think the logo would definitely be recognisable. And it does have attributes that other products do. Two? Aye. Go for it. Mirta Hyde: Right, Ann Riordan: Two Mirta Hyde: okay. Ann Riordan: or three. Mirta Hyde: Two. Ann Riordan: How Mirta Hyde: Right, come on. Ann Riordan: Two. Mirta Hyde: That's Ann Riordan: Okay. Mirta Hyde: that decided. Right. So Ann Riordan: Right. Mirta Hyde: So we're now on to changing it to get it to fit in with the budget requirements, and then Ann Riordan: Yeah. Amanda Brazill: What does what do all them numbers mean then? Do we add them up and rate or anything? Ann Riordan: 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 Mirta Hyde: About Ann Riordan: in my Mirta Hyde: a two. Ann Riordan: head. Mirta Hyde: Two. Ann Riordan: One point eight isn't it or something. I think, anyway. So yeah, pretty close to a two. Edith Schnieders: Yeah, Ann Riordan: So Edith Schnieders: so it's Ann Riordan: 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 Mirta Hyde: Yep. Ann Riordan: try and make sure it doesn't get Edith Schnieders: So should Mirta Hyde: Two Ann Riordan: too Mirta Hyde: b Ann Riordan: bad. Mirta Hyde: two b two, yeah. Edith Schnieders: we get So are definite Was it thirteen point seven was the definite price rule if has. Mirta Hyde: Yes. Ann Riordan: Yeah. Edith Schnieders: Okay, so we need to Mirta Hyde: Well, you can lose one point two and still meet Ann Riordan: Do you wanna Mirta Hyde: the requirements. Ann Riordan: plug it into yours so we can get up the Mirta Hyde: Okay, well I put it back Ann Riordan: the Mirta Hyde: on. Ann Riordan: finances Edith Schnieders: So I guess this Is this the last stage once we sort out the finances part of it? Ann Riordan: I'm not sure. Amanda Brazill: we'll probably have to re-rate it. Mirta Hyde: Yes, I would've thought so. Edith Schnieders: Yeah, Ann Riordan: Yeah. Edith Schnieders: yeah we'll make the adjustments and then see how are rates are going. Mirta Hyde: Okay, so what was it, control uh F_ eight, wasn't Amanda Brazill: Ah Mirta Hyde: it? Amanda Brazill: it's on. Ann Riordan: it's come on already. Mirta Hyde: 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. Edith Schnieders: Oh actually we just have a plastic case, then we lose two Mirta Hyde: That's Edith Schnieders: points, Mirta Hyde: right. Edith Schnieders: which gets us um Ann Riordan: Mm. Mirta Hyde: Which gets you Edith Schnieders: In right within the budget range. Mirta Hyde: Yes. Amanda Brazill: Yeah, I think that'd be fine. Because that was just a trend, and we do have rubber buttons anyway. Edith Schnieders: So that's eleven point Ann Riordan: Yeah. Edith Schnieders: seven, and then we could make sure we definitely had all the button supplements. Ann Riordan: Different Mirta Hyde: Alright. Ann Riordan: 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 Edith Schnieders: Possibly, Ann Riordan: sort of you Edith Schnieders: yeah. Ann Riordan: know sleeker plastic case. Edith Schnieders: Um Amanda Brazill: Yeah. Mirta Hyde: Okay, Edith Schnieders: And that would Mirta Hyde: so Edith Schnieders: allow us to have all the technical innovations. So we'd lose a little bit on the maybe kind of Mirta Hyde: So we're going for plastic, yes? Ann Riordan: Lose a little bit on the fashion, yeah, but Mirta Hyde: Yep. Edith Schnieders: Oh Ann Riordan: And Edith Schnieders: yeah, Ann Riordan: then Edith Schnieders: 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? Mirta Hyde: Well, uh w uh there was debate as to how you would count them. Edith Schnieders: Um Mirta Hyde: You got special colour. Well originally I was assuming we had the red apple, and therefore, that was the special colour. Amanda Brazill: Yeah, I think we should just imagine white buttons. Edith Schnieders: And we we've we've got we've got enough for another Ann Riordan: Yeah. Edith Schnieders: we've got nought point eight left, so we've got enough for Mirta Hyde: Well, Edith Schnieders: another Mirta Hyde: 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 Edith Schnieders: Yeah, um Mirta Hyde: So so no matter Edith Schnieders: But the Mirta Hyde: how you Edith Schnieders: but Mirta Hyde: look at that, that would be the same. The other Edith Schnieders: but Mirta Hyde: thing would Edith Schnieders: but Mirta Hyde: then Edith Schnieders: the Mirta Hyde: be special material, rubber, wood, titanium. Edith Schnieders: I think maybe the special colour, we've got three now just because the Ann Riordan: Yeah. Edith Schnieders: volume buttons are different, I guess we'd have the ones which are blue at the moment Mirta Hyde: Alright. Edith Schnieders: would would just be Mirta Hyde: So, Edith Schnieders: the standard Mirta Hyde: special Edith Schnieders: colour. Mirta Hyde: colour, you want three in there. Edith Schnieders: Yeah, which I think we should Yeah, they'll still be fine for the for the price. Mirta Hyde: Okay. Ann Riordan: 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. Mirta Hyde: That makes sense. Edith Schnieders: Okay, Ann Riordan: Okay. Edith Schnieders: uh Amanda Brazill: Yeah. Edith Schnieders: that's probably it. Ann Riordan: So we only ne we only need two for that. Mirta Hyde: Okay. Ann Riordan: '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 Mirta Hyde: Okay. Ann Riordan: it. Mirta Hyde: Yeah, I would agree with that, I think. So special colours, two. Ann Riordan: Right. Mirta Hyde: 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? Edith Schnieders: Ne Mirta Hyde: Was that the Edith Schnieders: uh Mirta Hyde: idea? Amanda Brazill: Yeah, the volume ones should Edith Schnieders: Maybe Amanda Brazill: stand Edith Schnieders: that'll be Amanda Brazill: out Edith Schnieders: a Amanda Brazill: a bit. Edith Schnieders: second supplement. Ann Riordan: Yeah, Edith Schnieders: Then there's Ann Riordan: that Edith Schnieders: a spe a second special form. Mirta Hyde: Uh-huh. Ann Riordan: Yeah. Mirta Hyde: I Edith Schnieders: Um Mirta Hyde: would have thought that's probably about r Edith Schnieders: Well you got you got twelve. Mirta Hyde: well. Ann Riordan: Okay, so tha Edith Schnieders: So I think that should still be okay. Yeah, Mirta Hyde: Right. Edith Schnieders: that's twelve point three, so we're still within budget on that. Mirta Hyde: Yep, that Edith Schnieders: Um Mirta Hyde: makes sense. Edith Schnieders: So decide we've lost a little bit on the fashion and lost a bit on the fancy kinda Mirta Hyde: Yep. Edith Schnieders: side of it, but generally speaking, we've kept the other attributes to the Mirta Hyde: I woulda said so. Yeah. So you'd maybe put fash fan uh Edith Schnieders: That's Mirta Hyde: fashion Edith Schnieders: without Mirta Hyde: at three rather than Ann Riordan: So shall we do Edith Schnieders: Yeah. Ann Riordan: a Mirta Hyde: two. Ann Riordan: Well, um Edith Schnieders: And specially it definitely could fits the the real product What was the what's the company name? Amanda Brazill: Real Reactions? Mirta Hyde: Real Edith Schnieders: R yeah. Mirta Hyde: Reaction produ Ann Riordan: Yeah. Edith Schnieders: Yeah, Mirta Hyde: I'm not quite sure, what Edith Schnieders: yeah. Mirta Hyde: does that mean? Edith Schnieders: I mean it still seems definitely fit that p so that's like if that's the new age kind of um inno innovative Ann Riordan: Yeah, so Edith Schnieders: c type company, then um having the kinetic feature and the voice recognition Ann Riordan: Uh Edith Schnieders: is Mirta Hyde: Yep Edith Schnieders: p quite high up Ann Riordan: So Edith Schnieders: on Ann Riordan: it's Mirta Hyde: I Ann Riordan: w if we've Mirta Hyde: would Ann Riordan: if Mirta Hyde: s Ann Riordan: 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 Edith Schnieders: Um Ann Riordan: would be poss Mirta Hyde: You mean of Ann Riordan: 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 Edith Schnieders: Mm-hmm. Ann Riordan: know. Mirta Hyde: Well you could argue you might do it once a year, you would change, because at the moment you're making a red apple. Edith Schnieders: Yeah Ann Riordan: Well you Edith Schnieders: so Ann Riordan: could Edith Schnieders: it's Mirta Hyde: So Edith Schnieders: a Mirta Hyde: next year you could make next year's model the same, but have it as a Ann Riordan: Yeah. Edith Schnieders: Whatever fruit Mirta Hyde: a Edith Schnieders: was in Mirta Hyde: yeah Edith Schnieders: fashion Mirta Hyde: whate Edith Schnieders: next Mirta Hyde: whatever, Edith Schnieders: year. Mirta Hyde: a lemon. Yeah, l a lemon lemon or something. Ann Riordan: Yeah, Mirta Hyde: And Ann Riordan: I mean Mirta Hyde: that Ann Riordan: the volume buttons could be lemons or something, maybe. Mirta Hyde: amount Ann Riordan: Okay. So, we've what have we what have we rid of. We got rid of the plastic. Mirta Hyde: Yeah, we've the Ann Riordan: Is Mirta Hyde: main Ann Riordan: it Mirta Hyde: thing we've Edith Schnieders: That Mirta Hyde: changed Ann Riordan: The Edith Schnieders: yeah, Ann Riordan: rubber. Edith Schnieders: that was Mirta Hyde: really Edith Schnieders: uh Mirta Hyde: is Edith Schnieders: that Mirta Hyde: the casing isn't it? Edith Schnieders: was Mirta Hyde: We've Ann Riordan: Yeah. Edith Schnieders: 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. Ann Riordan: Yeah. Edith Schnieders: Um Ann Riordan: But uh Edith Schnieders: 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. Ann Riordan: 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, Edith Schnieders: Yeah. Ann Riordan: maybe. So, I mean we could maybe put two again on them. Edith Schnieders: And everything else has stayed pretty much the same, Mirta Hyde: Well, Edith Schnieders: so Mirta Hyde: ease has certainly stayed. Edith Schnieders: Yeah, plus if anything Ann Riordan: Yeah. Edith Schnieders: that is special forms makes it slightly easier to Mirta Hyde: Yeah. Ann Riordan: Yeah. Edith Schnieders: to use. Ann Riordan: And what about the sort of innovation? Edith Schnieders: Um, Ann Riordan: Do you think Edith Schnieders: well we've still got the kinetic energy. Um Ann Riordan: Okay. Mirta Hyde: And the speech feature. Edith Schnieders: Yeah, the speech feature. Ann Riordan: And then, the corporate identity. Edith Schnieders: 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 Mirta Hyde: How Edith Schnieders: casing Mirta Hyde: it would play Edith Schnieders: would really Mirta Hyde: out, Edith Schnieders: affect Mirta Hyde: yeah. Ann Riordan: Yeah. Mirta Hyde: Oh. Ann Riordan: Whether whether that's considered to be sort of part of the corporate identity, I don't know. I mean, Edith Schnieders: Um Ann Riordan: it's maybe not. I mean Edith Schnieders: But I think more the the features of the actual control will be more important than maybe than the Ann Riordan: Yeah. Edith Schnieders: the actual aesthetics, but Ann Riordan: Yeah. Edith Schnieders: But either way, I think we've made it fairly close to what Ann Riordan: Yeah. Okay, Amanda Brazill: Yeah, Ann Riordan: well I Amanda Brazill: I Ann Riordan: mean Amanda Brazill: don't see how we could make it any more. Um, Ann Riordan: We cou Amanda Brazill: apart from maybe doing the whole thing in the kinda light shade of blue, like the casing. Ann Riordan: Mm-hmm. Amanda Brazill: But then what colour would you make the R_s? Edith Schnieders: just the the company logo. So maybe there's like a set design which we get Mirta Hyde: Well, Ann Riordan: Yeah. Mirta Hyde: but Edith Schnieders: printed Mirta Hyde: you've got Edith Schnieders: off. Mirta Hyde: the company logo on there, which would effectively be a stick-on badge. Edith Schnieders: Okay. Mirta Hyde: So you're in a sense, you're comparing the product without the company logo. Ann Riordan: Yeah. Mirta Hyde: And then y but you've got the space for it Edith Schnieders: Yeah, Mirta Hyde: to stick Edith Schnieders: yeah. Mirta Hyde: it on. Ann Riordan: Hey, what what what's the company colour? Did you get told what the company colour is or Edith Schnieders: I'm still not quite sure we've established that. Amanda Brazill: No, I just Mirta Hyde: Don't think Amanda Brazill: We Mirta Hyde: so. Amanda Brazill: got Mirta Hyde: But Amanda Brazill: the logo Mirta Hyde: but Amanda Brazill: off the Mirta Hyde: i Amanda Brazill: web Mirta Hyde: but Amanda Brazill: browser. Mirta Hyde: in the sense that, as you saw Ann Riordan: Oh Mirta Hyde: with Ann Riordan: right. Mirta Hyde: 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 Ann Riordan: Hmm. Mirta Hyde: colour it is, so long as our company's logo is framed w in the same way as that with a Ann Riordan: Mm-hmm. Mirta Hyde: like a black outline. Fact, they've got black and white or black and silver. So Ann Riordan: Mm. Mirta Hyde: 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 Ann Riordan: Okay. Mirta Hyde: that's actually quite a sneaky way of doing it. Ann Riordan: Uh-huh. 'Cause you've got sort of we've got point two to play with if you really wanted to. Mirta Hyde: You could put in another Ann Riordan: Another colour. Or Mirta Hyde: Well, Ann Riordan: would that Mirta Hyde: in Ann Riordan: be Mirta Hyde: this Ann Riordan: t Mirta Hyde: one, you've actually got three colours of buttons. Ann Riordan: Yeah. Mirta Hyde: Well, we decided that the blue ones were the um the standard colour. Ann Riordan: Okay. Mirta Hyde: 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. Edith Schnieders: Yeah. Ann Riordan: Yeah. Amanda Brazill: Mm-hmm. Mirta Hyde: Which m may or may not be the case. Ann Riordan: Yeah. Shall Edith Schnieders: Um Ann Riordan: we save the point two for profitability then? Mirta Hyde: 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? Amanda Brazill: 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. Edith Schnieders: Yeah, maybe Amanda Brazill: Needs Edith Schnieders: we've Amanda Brazill: to be Edith Schnieders: m Amanda Brazill: an enter button, but could just be the same as well. Edith Schnieders: Maybe for the the one they're gonna see all the time, we make it look good, and um, Ann Riordan: Hmm. Edith Schnieders: 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. Ann Riordan: Yeah. I mean it's the sort of thing that, I mean, you wanna pick up the controller and just hit a button quickly Mirta Hyde: Yeah, Ann Riordan: to Mirta Hyde: well Ann Riordan: 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. Mirta Hyde: Alright. Okay. Ann Riordan: 'Cause you Yeah. Edith Schnieders: Yeah. Mirta Hyde: So Ann Riordan: So Mirta Hyde: we just add that to profitability in effect. Ann Riordan: Yeah, I mean so Amanda Brazill: Mm-hmm. Ann Riordan: we've dropped the cost, but Mirta Hyde: Right, so we're meant to finish up in five minutes. Ann Riordan: Same sort of function? The criteria? It's alright. Edith Schnieders: 'Kay. Ann Riordan: Just made a load of money. Amanda Brazill: 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. Ann Riordan: 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. Amanda Brazill: Alright. Ann Riordan: le lemon Amanda Brazill: Did we Ann Riordan: sh Amanda Brazill: decide what that was, which button it was? Ann Riordan: I think well, Amanda Brazill: On the volume ones? Ann Riordan: we could have lemon shaped ones with the volume ones or something. Amanda Brazill: Right. Edith Schnieders: Uh, Ann Riordan: Or something like Edith Schnieders: That's Ann Riordan: that. Edith Schnieders: good. Ann Riordan: Yeah. Edith Schnieders: Definitely lemon shaped. Ann Riordan: Did did you have to have a rubber case, though, for rubber buttons? Or was it the other way around? Edith Schnieders: You had to have rubber buttons if you had the rubber case. Ann Riordan: Right, Mirta Hyde: Mm-hmm. Ann Riordan: okay. Edith Schnieders: So I think we can we're Mirta Hyde: So Edith Schnieders: okay. Mirta Hyde: we're okay this way around. Ann Riordan: Yeah. So that so we've Mirta Hyde: Until Ann Riordan: saved Mirta Hyde: the design team comes in and says, get off. But you are the design team. Edith Schnieders: Then we say it's fine, so it's all good. Ann Riordan: Saved two Euros on that. Mirta Hyde: So what bit are we on to? Amanda Brazill: 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 Mirta Hyde: Yeah. Amanda Brazill: a cherry officially? Mirta Hyde: I th Ann Riordan: Mm-hmm. Mirta Hyde: I th Oh. Right, okay. Edith Schnieders: Just in case we need that point two for lawsuits and such like. Mirta Hyde: Oh drats, I've botched that, haven't I. Amanda Brazill: So were we aiming for a certain target on that scale? Ann Riordan: Well, we're aiming for um one for all of them. M but Amanda Brazill: Right. Ann Riordan: 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. Edith Schnieders: And we seem to have least something in each criteria. Ann Riordan: Yeah. Edith Schnieders: We haven't completely left anything out, so Ann Riordan: Yeah, I think most Edith Schnieders: As an overall product which has to be quite cheap, we've just about achieved Ann Riordan: Yeah. Edith Schnieders: everything. Ann Riordan: Yep. Amanda Brazill: So do we have anything else to discuss? Ann Riordan: I don't know. What's on the agenda? Mirta Hyde: Right, okay um What's happened here? Mirta Hyde: Right, okay um Mirta Hyde: Mm. Right, okay um, Right. So we got Edith Schnieders: We've got the Mirta Hyde: So Edith Schnieders: closing. Mirta Hyde: 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 Ann Riordan: Uh-huh. Mirta Hyde: m my understanding of it. So what did you and remembering that nobody's just over the curtain. So, um Ann Riordan: Finish your meeting now. Edith Schnieders: We should just go through Amanda Brazill: Huh. Edith Schnieders: this quickly and then Ann Riordan: Yeah. Mirta Hyde: So I suppose the easiest way of doing it is to put some notes down, which I will do. Ann Riordan: Okay. Mirta Hyde: So, uh I think I have to finish that page. Ann Riordan: Oh. Mirta Hyde: Right, okay, so Mirta Hyde: Project evaluation. So, um Creativity. Did you feel you got a chance to express yourselves well enough? Edith Schnieders: Um, yeah. Amanda Brazill: Yeah. Mirta Hyde: Well Edith Schnieders: Yeah. Mirta Hyde: um Ann Riordan: I thought some of the divisions though between sort of the individual meetings were a bit arbitrary. Mirta Hyde: Individual meetings. How do you mean? Ann Riordan: Yeah. Well, we were finding out various things in Mirta Hyde: In you on your own. Ann Riordan: 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, Mirta Hyde: Um Ann Riordan: 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. Mirta Hyde: 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. Ann Riordan: Yeah. Mirta Hyde: Then you go away. You find out information. You then come back. You then discuss it. You then Ann Riordan: Uh-huh. Mirta Hyde: go and change things around, and then go back. Ann Riordan: Yeah. Mirta Hyde: So Edith Schnieders: Yeah, I suppose and then be going out and finding more information each time and Mirta Hyde: Whereas, Edith Schnieders: then diff Ann Riordan: Yeah. Edith Schnieders: things will Mirta Hyde: this Edith Schnieders: be relevant. Mirta Hyde: time, you're really getting it from a database source, so it's not Ann Riordan: Yeah. Mirta Hyde: 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. Ann Riordan: Yeah. Amanda Brazill: I think it maybe could have been a slightly more creative project. I mean a remote control isn't the most um Ann Riordan: Yeah, the thing Amanda Brazill: kind Ann Riordan: itself. Amanda Brazill: of fancy thing Mirta Hyde: Um Amanda Brazill: that you could imagine designing. Ann Riordan: Yeah. Amanda Brazill: at the minute. Mirta Hyde: Have could have used a different example pel to increase Ann Riordan: Yeah. Edith Schnieders: Is this go Mirta Hyde: create Edith Schnieders: It kinda kis fits the purpose that it was something everyone knows about and then Mirta Hyde: Creativity. Edith Schnieders: something we can at least look at and think Ann Riordan: Mm-hmm. Edith Schnieders: how we Mirta Hyde: You Edith Schnieders: can improve Mirta Hyde: have to do it Edith Schnieders: on. Mirta Hyde: within a set time frame is the other thing, so Ann Riordan: 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, Edith Schnieders: one of those things. Ann Riordan: fifteen Edith Schnieders: Like uh, Ann Riordan: quid. Edith Schnieders: companies can have like a range of products and Mirta Hyde: I th Edith Schnieders: I don't know how it works Mirta Hyde: I uh Edith Schnieders: but Mirta Hyde: d Edith Schnieders: I guess that something got sent out and have like a brief to kind of Mirta Hyde: 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 Ann Riordan: Yeah. Mirta Hyde: 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 Ann Riordan: Mm-hmm. Mirta Hyde: 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 Ann Riordan: Hmm. Mirta Hyde: of course, you had the Edith Schnieders: Yeah. Mirta Hyde: machine crashing and various things going wrong. Edith Schnieders: Well, Ann Riordan: Mm-hmm. Edith Schnieders: sh we look at Mirta Hyde: So Edith Schnieders: the last slide, see if it's got anything else. I think Mirta Hyde: Alright, Edith Schnieders: there's one Mirta Hyde: so we've got Edith Schnieders: one more Mirta Hyde: uh Edith Schnieders: to go. Ann Riordan: 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. Mirta Hyde: New Ann Riordan: And Mirta Hyde: ideas found, did we find any, no. Edith Schnieders: It was quite good with this um the white board, having that and the digital pens. Like, that's something Mirta Hyde: Alright. Edith Schnieders: that made Ann Riordan: Yeah. Edith Schnieders: it a little easier. Ann Riordan: Yeah. Mirta Hyde: Leadership, teamwork. Ann Riordan: 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 Mirta Hyde: Does Edith Schnieders: voice recognition, especially not could Ann Riordan: Mm yeah. Mirta Hyde: You've got voice recognition computers, that's Edith Schnieders: Yeah. Mirta Hyde: not remote controls. Ann Riordan: Yeah. Amanda Brazill: Well it's a different application of it. Mirta Hyde: Mm-hmm. Edith Schnieders: Yeah, Mirta Hyde: Okay, Edith Schnieders: so it's just like the same products, but just put together in a different way. Ann Riordan: Mm. Mirta Hyde: so how do you reckon teamwork went? Edith Schnieders: Um Ann Riordan: That went okay, yeah. Edith Schnieders: Yeah, I guess we all had separate ideas and then discussed them. Ann Riordan: Mm-hmm, Amanda Brazill: Yeah. Ann Riordan: yeah. Mirta Hyde: To uh go uh reasonably well. Okay. Ann Riordan: I don't think sort of the budget um allowed Mirta Hyde: Bit Ann Riordan: us to do anything Mirta Hyde: bit arbitrary. Ann Riordan: 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, Mirta Hyde: Mm-hmm. Ann Riordan: 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 Mirta Hyde: So, Ann Riordan: they they should produ Mirta Hyde: we're m we're meant to comment on leadership and the means, E_ G_ whiteboard, digital pens, et cetera. Amanda Brazill: Well leadership's Mirta Hyde: And Amanda Brazill: a bit Mirta Hyde: and Amanda Brazill: of a funny Mirta Hyde: new Amanda Brazill: one, Mirta Hyde: i new Amanda Brazill: isn't Mirta Hyde: ideas Amanda Brazill: it. Mirta Hyde: found was the the other thing. Ann Riordan: Yeah. Amanda Brazill: But we can't really all fairly comment on leadership because you are Mirta Hyde. You were the leader. So our experience of leadership wasn't really as Ann Riordan: Yeah. Amanda Brazill: much as yours. Ann Riordan: Yeah. Mirta Hyde: 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. Ann Riordan: Yeah. It worked. Amanda Brazill: Yeah, Ann Riordan: Comput Amanda Brazill: very nice. Ann Riordan: computers could be a bit difficult at times but Amanda Brazill: 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 Ann Riordan: I Amanda Brazill: the Ann Riordan: think Amanda Brazill: computer or something? Ann Riordan: there's a little there's a little um Edith Schnieders: So Ann Riordan: chi Edith Schnieders: it's not just for us, it's for the experiment as a whole, so Ann Riordan: There's a little there's a little chip, I think you must plug Edith Schnieders: Should Ann Riordan: it into Edith Schnieders: we quickly Ann Riordan: something Edith Schnieders: look at Ann Riordan: and Edith Schnieders: the last Ann Riordan: it Edith Schnieders: slide? Ann Riordan: produces Edith Schnieders: Sh Amanda Brazill: Right. Ann Riordan: a Amanda Brazill: I think you watch a video of it kind of. Ann Riordan: I don't know. Whether it just produces a big image of sort of everything you've written or something, and Page Mirta Hyde: Right. Ann Riordan: after page. Mirta Hyde: New ideas found, so one or two. Ann Riordan: Yeah. Kinetic powered remote control. Um, what was the other one? Amanda Brazill: Voice um Ann Riordan: Vo yeah. Amanda Brazill: recognition thing. Mirta Hyde: um and uh voice uh, was it voice activated um Ann Riordan: Voice recognition, yeah. Mirta Hyde: recognition. Ann Riordan: S Ann Riordan: Almost. To Amanda Brazill: Pretty much. Ann Riordan: fill in these fill in these Mirta Hyde: Right, Ann Riordan: questionnaires Mirta Hyde: so, Ann Riordan: Oh Mirta Hyde: uh Ann Riordan: no. Mirta Hyde: are the costs within budget, yes. Is the project evaluated, yes. Uh, don't forget to complete final questionnaire and meeting summary. Then celebration. Edith Schnieders: Is that Ann Riordan: Hmm? Edith Schnieders: everything? Ann Riordan: I think that we've got two questionnaires and a Mirta Hyde: Yeah. Ann Riordan: report on the last meeting. Mirta Hyde: 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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train

Colene Baumbach: Alright, that did nothing. Okay. Welcome to the meeting everyone. Just gonna attempt to make this into a slide show. Colene Baumbach: Sorry guys. Joyce Dempsey: You may have to do the function F_ thing. Colene Baumbach: I did. Joyce Dempsey: Oh, okay. Colene Baumbach: Twice. This'll just take a Glenna Seal: Okay okay Colene Baumbach: moment. Or it won't. Colene Baumbach: Okay we'll have to deal with it like Glenna Seal: Okay. Colene Baumbach: this then. Alright. Um. This is the first meeting uh for developing our, our new product. I'm Heather, I'm your Project Manager. Glenna Seal: Hello. Colene Baumbach: Okay. So um. So that was the opening. The first thing we'll do is get acquainted with one another. If everyone could go around and explain their role and um, and their name. Glenna Seal: My name's Poppy. I'm Glenna Seal for this project. Um, I'm going to be responsible for the functional design phase. Also the conceptual design and the detailed design for the final product. Colene Baumbach: Nice to meet you Poppy. Glenna Seal: Okay. Melinda Wright: My name's Tara and the Interface Designer. I will also be responsible for the functional design phase, the conceptual design phase and the detailed design phase of the user interface design. Colene Baumbach: Alright. Joyce Dempsey: Hi, I'm Genevieve. I'm Joyce Dempsey. I'm an expert at marketing. Um, I'll be telling you guys about the user requirement specifications for our new product. Um, I'll be doing some trend-watching in the conceptual design, and product evaluation for the design phase. Colene Baumbach: Alright I'm Heather and I've I said I'm your Project Manager, um Well you can pretty much read what it is that I'm doing. But um um Yeah. And uh tool training is one thing that we're going to be doing today, um um as well as planning the project, how we're going to, uh, create this product, and, um, discuss, um, our aims and objects of this, uh Which brings us to our next subject, is, um, um, as a team we're going to be designing and creating a new kind of remote control. Um, we want this to be a marketable product that can be trendy, um, a completely new style, so that, um, can really appeal to a, to a generation that doesn't want a simple plain kind of, uh, channel-changer. And, um, it needs to be user-friendly for, um, maybe, for an example, for people that, um, can't see the numbers as well, or, um, perhaps an ergonomic design. Glenna Seal: Okay. So this is a television remote control? Colene Baumbach: Yes, Glenna Seal: Yeah. Colene Baumbach: it's a television remote control. Right. I believe I should be taking minutes on this right now. So, alright. Glenna Seal: Okay. Colene Baumbach: Um, yeah. Um, the way that we're going to go about this is, um, we'll have a time where we can, um come up with new ideas alone, and, and work on the project and then, um, after we've brainstormed and, and thought about, we can come together in a meeting and, and discuss what, what um, what kind of functional design we want to use. Same with conceptual design and detailed design. So, um, making sure that it, it's usable, that as a, um and that it's, it's feasible to create, and uh, to come up with a concept of it want, what we want it to look like. Um, tool training. Is, is everyone, um Glenna Seal: Yeah. Colene Baumbach: Okay. Glenna Seal: Got Joyce Dempsey: Yeah. Glenna Seal: those notes. Joyce Dempsey: Thank you. Colene Baumbach: Great. Great. Um One thing that, uh, we're going to do is become more acquainted with the, the tools that we have access to for our project. Um, one of them is our whiteboard. And, um, as a sort of team-building moment, um, I, I'd like us to, um, try out the whiteboard by expressing our favourite animal and the charac characteristics of that animal. Um, why that, why that should be your favourite animal. So, um, I, I'm assuming that we should do that now. Glenna Seal: Okay. Colene Baumbach: 'Kay. With our microphones still attached to our bodies. Glenna Seal: Okay. Melinda Wright: Gosh. Colene Baumbach: Okay. Colene Baumbach: 'Kay, what's my favourite animal? Do come up. Glenna Seal: Oh, to go first. Oh, are we all doing Colene Baumbach: This is Glenna Seal: it Colene Baumbach: a Glenna Seal: individually? Colene Baumbach: team-building time where, Glenna Seal: Okay, Colene Baumbach: um, Glenna Seal: stand up and support you Colene Baumbach: okay cool, um Melinda Wright: Yeah. Colene Baumbach: My favourite animal, which changes all the time, okay, right now it is an elk. Melinda Wright: An Glenna Seal: Okay. Melinda Wright: elk? Colene Baumbach: alright, Melinda Wright: A vicious Colene Baumbach: so And it goes like Yeah it's got like big antlers, yeah. Looks kinda like, like it has holly growing out of its head. Glenna Seal: Do you have elk where you come from? Colene Baumbach: Yes. Glenna Seal: You do. Colene Baumbach: Yeah Joyce Dempsey: We have moose too. Colene Baumbach: we have moose Glenna Seal: Okay. Colene Baumbach: and we have deer. Do you have Melinda Wright: We have sheep. Glenna Seal: Sheep. Yeah, cows. Colene Baumbach: 'Kay, um. Glenna Seal: That's a great elk. Melinda Wright: That is really good. Glenna Seal: Yeah. Melinda Wright: I'm quite Colene Baumbach: Thanks. This is my Joyce Dempsey: Oh, very shapely. Colene Baumbach: Okay. Glenna Seal: Brilliant. Colene Baumbach: That's a sketching of my my elk, and it, it is my favourite animal right now, 'cause it is a large beautiful majestic creature, that um, that um In a way it looks kind of awkward, because it's on spindly legs and it uh But it can really overcome harsh terrain, and although it's gorgeous it's also very dangerous, because it has um strong antlers, and uh it can really combat its enemies, even like it it's a it's an herbivore but, uh, it can really defend itself. Glenna Seal: Mm. Very Colene Baumbach: Yeah. Glenna Seal: nice. Okay. Colene Baumbach: Right. Colene Baumbach: Right, I'm gonna take minutes while, um, you guys Glenna Seal: Okay, Colene Baumbach: express Glenna Seal: I'll Colene Baumbach: your Glenna Seal: go Colene Baumbach: favourite Glenna Seal: next. Colene Baumbach: animals. Glenna Seal: I am a big animal lover. I like all sorts of animals, but for the moment I'm gonna draw a cat, in memory of my poor cat that died recently. Joyce Dempsey: Oh. Colene Baumbach: Oh. Glenna Seal: It's gonna be a bit of a strange drawing, but never mind. Glenna Seal: Not as artistic as Heather's drawing. Bit more cartoon style. But I like cats because they're so independent, and they always seem to be doing what they want to be doing. Um, but that doesn't mean they're completely not sociable, 'cause they enjoy interacting with humans as well, and they seem to enjoy the good things like sunshine and, um, running around outside as well as being inside, and enjoying their food, and generally just, they just seemed so cool and they just know what they're doing. Uh I reckon they're sort of, they got it sorted. They know what they want. Basically, that's why I like cats. Melinda Wright: Very Colene Baumbach: Great. Melinda Wright: good. Glenna Seal: I'll rub that out. There you go. Melinda Wright: Okay. but I'm not really sure how to draw one. Glenna Seal: Ooh. Melinda Wright: I, I've never drawn a dog, I don't think. I'm tempted to draw a snail 'cause I draw them sometimes and they're really easy to draw. Um, Colene Baumbach: I forget her name. Melinda Wright: right it's Joyce Dempsey: Tara Melinda Wright: gonna be a really funny dog, Joyce Dempsey: or Tara. Melinda Wright: 'cause I'm not sure how to draw a dog. Glenna Seal: Well there are loads of different types of dogs, so I'm sure it'll represent one kind of dog. Melinda Wright: It's a cartoon dog I think. A s I don't ev Oh, oh well. It's a scary cartoon dog. That This, that does not look like a dog. Colene Baumbach: It Melinda Wright: I'm Glenna Seal: We Colene Baumbach: looks Glenna Seal: can pretend. Colene Baumbach: kinda like a person. Melinda Wright: sorry. Joyce Dempsey: That's Pinocchio. Melinda Wright: How do you draw a dog? I suppose it has a lon Oh my god. Right. Yous know what it's supposed to be. It's a dog. Glenna Seal: Okay. Melinda Wright: Um, I like dogs because, um, they're so good to humans, like they can be trained to be police dogs and seeing-eye dogs, and they're just such friendly animals. And, like they're more of a companion than cats. I've Glenna Seal: Yeah, Melinda Wright: nothing Glenna Seal: that's Melinda Wright: against Glenna Seal: true. Melinda Wright: cats. Cats don't really like Joyce Dempsey, so I can't like them. But they're just so friendly and warm and nice animals, that don't look like that. Joyce Dempsey: Alrighty. I feel like a robot. Okay. Um, well I guess I had the most time to think about it. I'm going to draw a butterfly, because I saw a butterfly yesterday, that seemed to be like the symbol of Spring arriving. And it was actually the prettiest butterfly I've ever seen out in the wild, and I though that was pretty cool in Scotland. It was like, well it was a little pointier than that. At first I thought it was a dead leaf. And then it landed on the wall next to Joyce Dempsey. But this part was all brown and then it has these big blue dots like this. And then it kinda there was a green, I think it was a green ring, and there was like red going out like this. Colene Baumbach: It's kinda like a peacock. Joyce Dempsey: Yeah, it kinda was actually, 'cause it was This part of the body was really dull, and then it was the most colourful exotic butterfly ever, and I'm like, wow this is the middle of Scotland in like March. So I thought that was pretty cool. And it landed by a wall and let Joyce Dempsey look at it for about two minutes. I wish I'd had my camera. So that's gonna be my favourite animal because after all the snow it seemed to say that like Spring is finally here. Yeah. There you Glenna Seal: Very Joyce Dempsey: go. Glenna Seal: nice. Colene Baumbach: Great. Joyce Dempsey: Uh, what do we Oh. Colene Baumbach: Do you hear the eraser buzzing while you do that? Joyce Dempsey: Yes I do. Colene Baumbach: Yea Right. So, now that we know how to use the whiteboard, Glenna Seal: Okay. Colene Baumbach: um, the next, um, thing we need to address is our financial department, to meet our our budget, um or not meet our budget but more, um, like what kind of, uh, selling range we'll be looking at, um, wanna make this um selling price of twenty five Euros. have to, um, come up with a way to, to create a, a uh remote control, where um we can like the price to create it will be significantly less. Um, we'd like to, um to, uh, make fifty million Euro. I'm assuming that's what the M_ means. Um, and make it for an international market. Um, one thing we'd have to think about internationally is in the design of, um, like different kinds of, uh, V_C_R_s. Things like that, depending on which country you are. Another thing for the design team to think about. Um, we want it to cost, uh, absolute maximum of twelve Euro and fifty cents. Joyce Dempsey: Okay, so we'll have a hundred percent profit then? Twelve fifty. Colene Baumbach: I'm bad at math. Joyce Dempsey: Okay. Colene Baumbach: 'Kay. Um, so now that, um, that is underway, um it is discussion time. So this is time for us to bring our initial ideas, any um suggestions that you may have so far, a um your personal experiences with remote controls, and um, um, areas you see that, uh, could be improved in your experience with them. Does anyone have any initial thoughts? Joyce Dempsey: I find that in the dark it's often hard to know what button you're pushing. Colene Baumbach: Mm-hmm. So what's something we could, uh, do to remedy that? Glenna Seal: Okay. Joyce Dempsey: Um Glenna Seal: I always find that in our house the remote control always goes missing. It's always, where Melinda Wright: Yeah. Glenna Seal: is the remote control? So maybe if you could have some kind of tracking device for the remote control or some signal that you could find out where it was. I dunno, some kind of alarm. You can press a button on your wall, Colene Baumbach: Yeah. It's a great Glenna Seal: signal, Colene Baumbach: idea. It's a great Glenna Seal: 'cause Colene Baumbach: idea. Glenna Seal: it always gets lost. Melinda Wright: Do yous not find that, um, like, there's a lot of, um, buttons on your remote control, Glenna Seal: Yeah. Melinda Wright: and Joyce Dempsey: Mm-hmm. Melinda Wright: you don't know what Glenna Seal: Yeah, Melinda Wright: half Glenna Seal: that Melinda Wright: of Glenna Seal: you don't Melinda Wright: them Glenna Seal: use Melinda Wright: do. Glenna Seal: half Melinda Wright: Yeah, Glenna Seal: of them. Melinda Wright: I don't know what they Joyce Dempsey: Mm-hmm. Melinda Wright: do. Joyce Dempsey: There's some remote controls where there's kind of a hidden panel, so all those buttons that you don't really use Melinda Wright: Yeah. Joyce Dempsey: unless you're Glenna Seal: Yeah, Joyce Dempsey: programming Glenna Seal: that's, Joyce Dempsey: or something. Glenna Seal: that's Joyce Dempsey: That's useful. Glenna Seal: Yeah, it is. Joyce Dempsey: So Glenna Seal: Yeah. Joyce Dempsey: you just have like the number buttons, power button, T_V_ Melinda Wright: Yeah. Joyce Dempsey: video button. Glenna Seal: Yeah. Colene Baumbach: Alright. Anything about, um, the look of the, uh, remote control that you might have ideas about. Maybe it could be, instead of like a standard rectangular shape, it could be, um, something more interesting like Any ideas will do that you have at this point. Joyce Dempsey: Could Glenna Seal: Mm. Joyce Dempsey: be shaped like a conch, you know. Be like a shell-shaped remote. Colene Baumbach: Can Glenna Seal: A Colene Baumbach: hold Glenna Seal: novelty. Colene Baumbach: it. Glenna Seal: Are we going Colene Baumbach: Yeah. Glenna Seal: into kind of novelty factors here. Like, I've seen Colene Baumbach: Well if it's Glenna Seal: phones Colene Baumbach: a trendy Glenna Seal: like a Colene Baumbach: original, Glenna Seal: Okay. Colene Baumbach: um, aspect we're going for. I mean, you're the designers, you c, Glenna Seal: Yeah. Colene Baumbach: you can um decide what kind of, Glenna Seal: Mm-hmm. Melinda Wright: Yeah. Colene Baumbach: um, direction you wanna go in, but at this point in the, in the first meeting it can Glenna Seal: Yeah. Colene Baumbach: be any ideas that we just throw out there. Glenna Seal: I suppose, if we're he heading to have it, like make a huge profit out of this, it needs to be quite a universally accepted thing. Like, a novelty Melinda Wright: Yeah. Glenna Seal: thing might only sell a few things rather than, like, a general kind of more acceptable But Colene Baumbach: Mm-hmm. Glenna Seal: we don't wanna go towards boring, 'cause that wouldn't sell either. So, Colene Baumbach: Yeah. Glenna Seal: hmm. Colene Baumbach: And the key issue here is, is being trendy and original. Glenna Seal: Yeah. Colene Baumbach: Um, that does not necessarily mean it needs to be outrageous. Glenna Seal: Yeah. Colene Baumbach: Right. Okay we have five minutes left. So, just to cover We have one more thing. Um, like you can go over your ideas, of course, in your own personal times. Glenna Seal: Yeah. Colene Baumbach: Um, our next meeting will be in half an hour. So you have half an hour to, uh, think about what you want to present. Or not present but bring to the meeting. Um, I_D_, whatever that stands for. Joyce Dempsey: Interface? Glenna Seal: Industrial Designer. Colene Baumbach: Industrial Joyce Dempsey: Oh, Glenna Seal: That's Joyce Dempsey: industrial. Glenna Seal: Joyce Dempsey. Colene Baumbach: Designer. I have to remember these things. Um. You'll be beginning your, your working design. Glenna Seal: Mm-hmm. Colene Baumbach: Um, U_I_D_ the technical functions design will, will be worked on the next thirty minutes. Um, maybe how this can be achieved, and, um, we need the user requirements from the manag Joyce Dempsey: Marketing Colene Baumbach: Marketing Joyce Dempsey: Expert. Colene Baumbach: Expert. Um, you will get specific instructions, um, of what to do in the next half an hour. And I'll see you in half an hour, okay? Glenna Seal: Okay. Colene Baumbach: 'Kay. Glenna Seal: Thank you.

Colene Baumbach opens the meeting by introducing herself and asking everyone to say their name and role in the group. She then states the agenda of the meeting and tells them that they will be designing and creating a new remote control that should be trendy and user-friendly. The meetings will focus on functional, conceptual, and detailed design. Next, each group member draws their favorite animal on the whiteboard and explains the characteristics of that animal. After that Colene Baumbach covers the project budget, and then they begin discussing their personal experiences with remote controls and how they want their remote to look. Then Colene Baumbach closes the meeting by telling each group member what to do in preparation for the next meeting.

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train

Donna Free: Okay. Yeah. That's okay. That's okay. Donna Free: Okay. Aurea Mckenzie: Am I starting now? Anytime? Oh sorry 'Kay. um. Alright, welcome back fro to the second meeting. And um I hope you had a productive last thirty minutes. Um, and um, I'll be taking minutes on this one, and um Being hooked up to the PowerPoint for this meeting isn't very necessary for uh myself, because it'll be more about uh, what you guys are bringing to the meeting today. Um, so, the first presentation we'll be looking at is Poppy's presentation And. um So, sorry? So, um, take it away Poppy. Donna Free: Okay. Um, do I need to Aurea Mckenzie: It's, it's plugged in. So, Donna Free: plugged Aurea Mckenzie: um Donna Free: in. Nona Gonzalez: F_ eight, w. Function F_ Donna Free: F_ Nona Gonzalez: eight Donna Free: okay. Function F_ eight. Sorry about this guys. Aurea Mckenzie: No problem. Donna Free: 'Kay. is on. Right. Okay. I will take this time just to apologise. I, I only, uh, received my emails later on. 'Cause I was too busy carried away doing my own thing, which is not obviously not a very good part of a team-working thing. But there we go. Aurea Mckenzie: I'm sure it's fine. Donna Free: Um, so I was looking at how we're going to go about the working design, and what we actually need to do, and what the remote control needs to do. And it needs to um allow a person to have a portable desi device, so they can control the television from wherever they are. They don't need to actually manually touch the television set. So, it gives them much more flexibility, and allows them to be where they want to be. Um, from Uh, on a functional side of things, we found out that wh from our previous meeting, we decided that there're certain points that will make our product unique. Um, one is the visibility in the dark, which was um Genevieve's idea. So we need to think about how we could bring this in um technically. And we could use illuminated buttons, which we are all familiar with when we're using a mobile phone, or um something fam familiar. A automatically, um lights up at first touch. Or we could use fluorescent materials which would just um take in the light during the day, and then as soon as they go off they would glow in the dark. Um, also we could use um an alarm. So if we lost the um remote control, perhaps there could be a button on the television set itself, which you could press, and then an alarm from the handset would sound where it was, hopefully in the room. Maybe behind a cushion or somewhere. Um, so that would work. Um, oop. Go back there. Um, another thing I think we d missed out on on the last meeting was the fact that we should consider the environmental impact of our design. Um, from previous researches I've carried out on other projects, um we've learnt about smart materials where um um specific alloys of metals have a shape memory. So they can be heated and um and cooled, and they change the shape of um the metal. So, for example, a screw that's holding something together could expand and it would force all the components apart. So um, the benefits of this for our product would be that when it came to the end of its product life, if it was heated, um everything would spring apart. So, all the um individual components could be easily separated, and then some could be reused, some could be recycled, and I think that would be very important for products now. Especially 'cause there's much uh responsibility for all the um companies who are coming up with like new designs. 'Cause all, we all know that our resources are being limited, and we have to be very environmentally conscious. Aurea Mckenzie: Right, um, one question. Donna Free: Yeah. Aurea Mckenzie: This, um, self-destructible uh metal, it allows for recycling materials? Donna Free: Um Aurea Mckenzie: So that, um, someone could have this product for as long as they felt that they wanted it, and then once Donna Free: And then Aurea Mckenzie: they contribute it, then that company can break Donna Free: Yeah. Aurea Mckenzie: down the part, the parts better? Donna Free: Yeah they would, um you would make the, the product as you normally would, apart from the, the bits that hold it all together would be made out of this shape-memory alloy. And that's the part that would um allow all the other parts to be separated at the end. I mean, the user would return the p product to the company, 'cause it's the product's responsibility to get rid of what they've made. Um, and then the company could then just use, make use of this shape-memory alloys to split up the components, Aurea Mckenzie: Yeah. Donna Free: and then either reuse some bits, and other bits which are obviously gonna wear out with time, or not usable, they might be like be able to put into scrap metal. Something like the case, if it's scratched or something, you would want to reuse it, but you might be able to melt it down and Aurea Mckenzie: Mm-hmm. Donna Free: reuse it again somewhere else. Aurea Mckenzie: Would we be the company that would break down these, or uh metals? Or would Donna Free: You Aurea Mckenzie: we Donna Free: could we could probably Aurea Mckenzie: contribute Donna Free: empl Aurea Mckenzie: to another Donna Free: em Aurea Mckenzie: group? Donna Free: employ a, a side company or something to do that for us. But it would be our responsibility to get that done and to dispose of the products that we made. For a certain percentage at least. Aurea Mckenzie: Alright. Donna Free: Not every, not a hundred percent of everything we produce, Aurea Mckenzie: Okay. Donna Free: but Aurea Mckenzie: This sounds like a really great idea. One thing we have to consider is our uh one hundred percent um turnover goal that we have Donna Free: Yeah. Aurea Mckenzie: for our financial Donna Free: Yeah. Aurea Mckenzie: sector. Um, so we'll have to investigate how much that will cost Donna Free: Yeah. Aurea Mckenzie: us, cost the company, um 'cause it sounds very labour-intensive. You would have to hire a number of people, and it might be more expensive. Donna Free: Well I the fact of the shape-memory alloys is that they, they don't need to be manually de um deconstructed. Like, you don't have to individually um unscrew all the screws. Because of this, their properties are smart material. All Aurea Mckenzie: Mm-hmm. Donna Free: you need is just the heat, so they self-destruct themselves. Aurea Mckenzie: Alright. Donna Free: So Aurea Mckenzie: We'll still Donna Free: I Aurea Mckenzie: have Donna Free: suppose Aurea Mckenzie: to investigate Donna Free: it does need Aurea Mckenzie: the Donna Free: like Aurea Mckenzie: financial Donna Free: high Aurea Mckenzie: implications. Donna Free: contact, yeah, you know high uh quality machinery, and very specific machinery, but Aurea Mckenzie: Alright. I like the environmental approach. Um, Donna Free: Yeah. Aurea Mckenzie: we'll have to see if that can meet our financial Donna Free: Okay. Aurea Mckenzie: goals as well. Donna Free: Um also there is um components. This'll be how it uh will actually work. But I haven't put this plan together yet. Aurea Mckenzie: I'm Donna Free: There Aurea Mckenzie: sorry, Donna Free: we Aurea Mckenzie: could Donna Free: go. Aurea Mckenzie: you Donna Free: Sorry, should I go Aurea Mckenzie: Those Donna Free: back. Aurea Mckenzie: were um Donna Free: show the circuit diagram. Although I haven't come up with the final circuit yet. Aurea Mckenzie: Okay. Donna Free: So I just put all those components in. Aurea Mckenzie: So those are what, um, we'll c construct the remote. Those Donna Free: Yeah. Aurea Mckenzie: are all the Donna Free: I it just shows what sort of energy source. It could be a battery, like rechargeable probably. Um, an' yeah, well how the infrared will actually be sent through the chip to be received by the chip on the television set itself. Aurea Mckenzie: Alright. Great. Donna Free: Okay? So, now is it F_ eight again to escape? Or escape? There we go. Okay. Aurea Mckenzie: Alright. Thank you very much. Donna Free: Thank you. Aurea Mckenzie: And, um, the next presenter will be Tara. Donna Free: There you go Tara. Nona Gonzalez: Thanks. Can you see? Margaret Landford: Oh, Nona Gonzalez: Do you think Is it uh, function eight yeah? Aurea Mckenzie: Yeah. Donna Free: Function Margaret Landford: Function F_ Donna Free: F_ Aurea Mckenzie: Function Margaret Landford: eight Donna Free: eight. Aurea Mckenzie: F_ eight. Sorry. Donna Free: The one at the top. Nona Gonzalez: Oh right. Okay. Margaret Landford: That looks right. Aurea Mckenzie: Yeah. Nona Gonzalez: Okay. I'm the User um User Interface Designer. Uh, the technical functions design of the apparatus is the effect the apparatus should have. Um, in this case it's the function of the remote control, which is to send messages to the television, television set. By inspiration from other similar designs we'll try and come up with an original There're two functional design options. A multifunctional remote control, which can be used for several entertainment devices. And a single function remote control, used specifically for the television. Margaret Landford: I'm sorry, what was that last one. Multifunctional and Nona Gonzalez: Sorry. Um, a single function just for the television itself. Margaret Landford: Ch Oh, I see. Nona Gonzalez: Yeah. Um, multifunctional controls can be difficult to use, as the multitude of buttons can be confusing. A single function remote control is simpler to use, but it means you have to have other remote controls for your other entertainment devices. Margaret Landford: 'Kay. Nona Gonzalez: Um, I think that a single function remote control would be preferable, because it's easier to use. It'd be more compatible with a range of television sets, making it more internationally sellable. Um, it will make an original design more obtainable, as we have less functional necessities to include in the design. And it would be more profitable as it would be more simplistic. And less functions would have to be included. So it would be cheaper to make. And probably more sellable just because it's more compatible with a r a wider range of devices. Does anyone have any questions? Margaret Landford: So as far as we know, um, a single function television remote control is us usable internationally? Nona Gonzalez: Well, it's just that, when we're creating it, we're, we have to make it um compatible with different brands of devices. Margaret Landford: Right. Nona Gonzalez: And it would be easier to make it compatible with just different brands of television devices rather than other Margaret Landford: D_V_D_s Nona Gonzalez: ent, Margaret Landford: and V_C_R_? Nona Gonzalez: yeah, Margaret Landford: Okay. Aurea Mckenzie: Right. Nona Gonzalez: other entertainment devices. Aurea Mckenzie: Does everyone agree with this? Does anyone object and, and find the multifunctional might be a better way to go? Donna Free: Um, I was just wondering about the, what, what Genevieve said before, about having like some hidden controls like having the outer casing. And that would probably, um, I d, well well what you said before about it being a more profitable simplistic design. I suppose Nona Gonzalez: Yeah. Donna Free: having that would complicate it a lot more. Nona Gonzalez: Yeah. Donna Free: And limit the design. Do you think? Margaret Landford: Yeah, I think I agree with the single design thing for now, because we're trying to do so much, that if we're trying a unique user-friendly, Donna Free: Yeah. Margaret Landford: dadada, also multi also multifunctional, um, we're gonna go over budget for one thing. So Nona Gonzalez: Yeah. Donna Free: Yeah. That's true. Nona Gonzalez: Yeah. Aurea Mckenzie: Mm-hmm. Donna Free: Yeah. Nona Gonzalez: And with this we'll have more room in the budget probably to make a more original design. Donna Free: Yeah. Margaret Landford: Mm-hmm. Nona Gonzalez: We'll have more money to Aurea Mckenzie: Yeah. Nona Gonzalez: go into the design side of it. Donna Free: Okay. Yeah. Aurea Mckenzie: Alright. Sounds great. Margaret Landford: Mm, 'kay. Aurea Mckenzie: Alright, well, um, are you ready for your presentation Genevieve? Margaret Landford: Yes I am. Aurea Mckenzie: Fabulous. Except you're not Margaret Landford: Oh, Aurea Mckenzie: hooked Margaret Landford: I'm Aurea Mckenzie: up to the Margaret Landford: not hooked up, but other than that, completely ready. Aurea Mckenzie: Great. Margaret Landford: Okay. Margaret Landford: Okay. Oh. I just lost my microphone. Aurea Mckenzie: No Margaret Landford: Just Aurea Mckenzie: problem, Margaret Landford: a moment. Aurea Mckenzie: we can Margaret Landford: Okay. So I'll be discussing the functional requirements of this remote control. Um, and I'll give you a little briefing on what that means exactly. Um, if you all remember from the email we got before our very first uh kick-off meeting, with the coffee machine? The functional requirements of that was to produce hot coffee quickly. Um, so what I'll be talking about now is the equivalent for a remote control. Um, so basically what needs and desires are to be fulfilled. Um, I've done some marketing research, a lot of interviews with remote control users, um, and some internet research. And I'll show you my findings. Oh, and firstly I wanted to remind you about our company motto and purpose. So we believe in providing international market with fashionable products. Um, hence our motto, we put the fashion in electronics. So I think that should be our priority here. Um, and we should also be looking to trends in clothing and interior design. Not just in electronic fashion. So that it's something that fits in the household. Aurea Mckenzie: I'm sorry, what was that last thing that you just said? Margaret Landford: Um, we should be looking towards trends in both clothing and interior design. Aurea Mckenzie: Mm-hmm. Margaret Landford: Any trends that are going on in, in Donna Free: Mm. Margaret Landford: the public, even media, you know who's famous, what T_V_ shows are being Donna Free: Yeah. Margaret Landford: watched, um, to influence our remote control. Okay, so the findings. Um, seventy five percent of users of remote controls find them ugly. Which is a, quite a significant number. Um, the other twenty five percent didn't specify if they love them or found them, you know, neutral. Eighty percent of users would spend more money when a remote control would look fancy. Current remote controls do not match well the operating behaviour of the user. Aurea Mckenzie: I'm sorry, that eighty percent of users would spend more money when a remote control would look fancy. You mean that they would spend more money on a fancy-looking Margaret Landford: Yeah, they're willing, Aurea Mckenzie: remote control? Margaret Landford: they're willing to spend money on a remote control with personality. As Aurea Mckenzie: Okay. Margaret Landford: opposed to your basic, you know, oval Donna Free: Mm. Margaret Landford: black, Donna Free: Yeah. Margaret Landford: all same size button remote control. Um, so it is something that people care about. It's not, it's not ignored in the household. Um, seventy five percent of remote control users said that they zap a lot. Zapping meaning they go through channels a lot. They're Donna Free: Mm-hmm. Margaret Landford: you know thumb-masters. Um, and fifty percent of users say they only use ten percent of the buttons. That A very small amount. Thought that was interesting. Aurea Mckenzie: Alright, so Donna Free: Mm. Aurea Mckenzie: it might be very appealing if, um, Donna Free: the single Aurea Mckenzie: we Donna Free: function. Aurea Mckenzie: have very concise buttons. And Donna Free: Yeah. Aurea Mckenzie: another thing with um lots of surfing, we'd probably have to work on something that could be um a lot more durable, because I find with um channel-changers that, um, Margaret Landford: Yes. Aurea Mckenzie: a lot of the numbers get rubbed down if they're Nona Gonzalez: Yeah. Aurea Mckenzie: printed on Donna Free: Yeah Aurea Mckenzie: the button. Donna Free: that's Nona Gonzalez: Yeah. Donna Free: a good point. Margaret Landford: And actually to go with that, I'm gonna give you some statistics on the uh relevancy of the buttons, how much they're used. And uh how important the uh users find them. So the power button, obviously, in an hour is only used once. Hopefully the person's not turning on and off the T_V_. Um, but the relevance of that button is nine out of ten. So people wanna be able to turn on the T_V_ with the remote control. Um, as opposed to standing up and turning on the television set. Channel selection is used a hundred and sixty eight times on average per hour. That's a huge amount. This is the most important button. Um, so obviously when commercials come on they're changing it, so as you said we want a durable button that's not gonna run down. Relevance of that button, our users found was uh ten, ten out of ten. Uh, ditto for volume selection, so ten out of ten. And it's used on average four times an hour. Not as much as channel selection, but still significant. Um, audio settings is used on average zero point eight times an hour. Relevance is two. Screen settings, which means brightness, colour etcetera, zero point five times an hour. Um, and relevance of one point five. We're getting to specific statistics here. Teletext, um, now I'm not too clear on what that is. I don't know if you can help Margaret Landford. Flipping pages. Is Nona Gonzalez: It's Margaret Landford: that Nona Gonzalez: um Donna Free: It's like the news. Or like Nona Gonzalez: It has Donna Free: information. Nona Gonzalez: T_V_ has like information, it has information on holidays, the news, Aurea Mckenzie: Yeah. Nona Gonzalez: entertainment. Donna Free: The and Margaret Landford: So Donna Free: what's Margaret Landford: like Aurea Mckenzie: It's Margaret Landford: a Donna Free: on. Margaret Landford: running Aurea Mckenzie: um Margaret Landford: banner, underneath Aurea Mckenzie: No it's Nona Gonzalez: No, Aurea Mckenzie: a button Nona Gonzalez: li Aurea Mckenzie: that you Nona Gonzalez: Yeah. Aurea Mckenzie: press, and then you, uh, like a menu pops up. Nona Gonzalez: Yeah. Aurea Mckenzie: I haven't used it before Margaret Landford: Oh. Aurea Mckenzie: but Donna Free: It's Nona Gonzalez: And you Donna Free: like Nona Gonzalez: have page numbers like for the menu, and you press the page numbers with your remote, and Margaret Landford: Okay. Donna Free: It's like Nona Gonzalez: it, Donna Free: very Nona Gonzalez: it'll come up. Donna Free: basic internet. Nona Gonzalez: Very Donna Free: Sort Nona Gonzalez: basic Donna Free: of, Nona Gonzalez: internet, Donna Free: um Nona Gonzalez: yeah. Margaret Landford: Okay. Nona Gonzalez: But you Margaret Landford: Like Nona Gonzalez: have Margaret Landford: tells you the weather, and Nona Gonzalez: Yeah. But Margaret Landford: Okay. Nona Gonzalez: you have no interaction back with it, you know. Like the internet you can send emails Donna Free: Yeah, Nona Gonzalez: and Margaret Landford: Right. Donna Free: it's Nona Gonzalez: You've Donna Free: just Nona Gonzalez: no interaction. Donna Free: information that um, like television timetables, what's on, what's on now, what's on next, on every Nona Gonzalez: Yeah. Donna Free: channel, and Margaret Landford: Alright. Well I guess I'm not with it, because I wasn't But it's, it's being used fourteen times an hour. Um, and has a r a high relevance of six point five. So it looks like something that we're gonna want to do some research on and Nona Gonzalez: Yeah. Margaret Landford: include Donna Free: Yeah. Margaret Landford: on our remote control. Channel settings. Nona Gonzalez: Uh, probably just tuning in the channels, would Margaret Landford: P Nona Gonzalez: it be? Margaret Landford: Sorry. Changing the channels? Nona Gonzalez: Tuning them in at the very start. You know if you get a new T_V_ set, you tune in all the channels, Margaret Landford: Oh, okay. Nona Gonzalez: do you th Donna Free: To get Nona Gonzalez: do you Donna Free: the Nona Gonzalez: think? Donna Free: right reception Nona Gonzalez: Yeah. Donna Free: and Nona Gonzalez: Yeah. Margaret Landford: Yeah. Donna Free: picture, Margaret Landford: Okay. Aurea Mckenzie: Mm. Donna Free: I suppose. Margaret Landford: Um, so it's not used very often, but people still find it relevant. Okay. Um, biggest frustrations of uh the people that we interviewed. Remote controls are often lost somewhere. So that was already discussed by Poppy. How we could have a, an alarm system so that people can find it. Um, takes too much time to learn how to use a new remote control. So it should be very user-friendly, you know. People know what to do very quickly. Um, remote controls are bad for R_S_I_. Donna Free: Repetitive Nona Gonzalez: Repeti Donna Free: strain Nona Gonzalez: Uh. Donna Free: injury. Margaret Landford: Ah. Donna Free: I Margaret Landford: Is Donna Free: think. Margaret Landford: that what it is? People with arthritis and such? Aurea Mckenzie: That's rather sad. Margaret Landford: Um, maybe Donna Free: Oh, Margaret Landford: our Donna Free: I'm guessing that's what it is. Nona Gonzalez: Yeah, Donna Free: I'm not Nona Gonzalez: yeah. I think Margaret Landford: designers Nona Gonzalez: it is. Margaret Landford: can look into that. Um, Donna Free: Mm. Margaret Landford: buttons that don't require, you know, very firm Donna Free: Yeah. Margaret Landford: pushing, if they respond. But we'll have to also avoid, you know, buttons responding to the slightest touch as well. That's a problem. Donna Free: Yeah. It is. Margaret Landford: Okay. Did you guys uh get that one down? Donna Free: Mm-hmm. Aurea Mckenzie: Yep. Margaret Landford: Um okay, here's some ideas for you. A large percentage of the public would pay for voice recognition on the remote controls. So I'll show you some numbers here. Um, so the youngest age group, fifteen to twenty five. Ninety one point two percent said that they would pay extra money to have voice recogni voice recognition included on their remote control. Um, and you can see that number decreases a bit with ol s Interestingly enough, twenty five to thirty five is the lowest amount. Um, that would, are willing to pay extra. So I guess we're gonna have to figure out what age group we're, we're targeting, and if and if voice recognition is something we wanna look into. And if we have the budget for it. Um, if we are targeting young adults, it looks like something that would pay off. Seeing as ninety percent, over ninety percent would pay for it. Aurea Mckenzie: I agree with um if we're targeting young adults then it would be something we should look into. Margaret Landford: Mm-hmm. Aurea Mckenzie: Um, financially and and functionally. Um, and especially if we are um trying to be trendy, go with fashions, Donna Free: Mm. Aurea Mckenzie: things like that. Um, ages like from thirty five to sixty five which show lower numbers probably won't be as concerned. Margaret Landford: So that, that's a whole other field of research. I don't know if it'd be, if we'd still have a remote, or if you're talking to your television and saying change channel. Um and depending Aurea Mckenzie: Mm-hmm. Margaret Landford: on how many members Donna Free: Yeah. Margaret Landford: you have in households. So it m it may be too complicated for us, but it's something Aurea Mckenzie: Yeah. Margaret Landford: to keep in mind anyway. Aurea Mckenzie: And something that might further complicate it is that the T_V_ makes noise itself. Margaret Landford: Right. Aurea Mckenzie: Wonder Nona Gonzalez: Yeah. Aurea Mckenzie: if it would have Donna Free: And if there was conversation in the room at the same time, Margaret Landford: Mm-hmm. Aurea Mckenzie: Yeah. Donna Free: although in theory it doesn't tend to be when you're watching television, but could be very difficult to get the specific uh Aurea Mckenzie: Yeah. If we're looking for a Donna Free: design. Aurea Mckenzie: simplistic design, if Margaret Landford: Mm-hmm. Donna Free: Yeah. Aurea Mckenzie: We need to decide if that is our um intention is, is a simplistic Donna Free: Mm. Aurea Mckenzie: design. Um, because if, if it is then I think voice, um voice-activated Margaret Landford: It looks like Aurea Mckenzie: Yeah, and that would sort of negate the whole remote control thing, because Margaret Landford: Mm-hmm. Aurea Mckenzie: if people can activate the television with their voice Margaret Landford: It'd Aurea Mckenzie: then they Margaret Landford: be Aurea Mckenzie: won't Margaret Landford: like Aurea Mckenzie: be Margaret Landford: the Aurea Mckenzie: using Margaret Landford: ultimate Aurea Mckenzie: a, Margaret Landford: remote. Aurea Mckenzie: they won't be talking into a remote, I'm sure. Margaret Landford: Um okay. And th the last thing here was a, an L_C_D_ screen. So, I mean voice recognition might be a little too extreme for us. Not practical. Um an L_C_D_ screen though might be something that, you know, you can shift through pages kind of li the way this PowerPoint is working. Donna Free: Yeah. Margaret Landford: So that you don't have so many buttons to deal with. Aurea Mckenzie: Um, I don't know what an L_C_D_ screen is. Margaret Landford: Oh sorry, just, just a screen, like a computer screen. S Or like um Nona Gonzalez: Mobile phone. Margaret Landford: Yeah. Donna Free: Mm. Nona Gonzalez: Yeah. Margaret Landford: Or Like an alarm clock. You'd have an L_C_D_ versus just a, Donna Free: What, Margaret Landford: a Donna Free: what Margaret Landford: normal Donna Free: would Margaret Landford: clock. Donna Free: appear on the screen? Aurea Mckenzie: I have no idea still. I'm sorry. Margaret Landford: Oh just like an electronic screen. As opposed to just buttons. There would be like a little, Aurea Mckenzie: Oh, on Margaret Landford: like Aurea Mckenzie: the remote. Margaret Landford: on Yeah. Aurea Mckenzie: Okay. Margaret Landford: Like on the top of a cellphone, the the little Aurea Mckenzie: Yeah. Margaret Landford: L_C_D_ screen. Um, now that's, I, I dunno exactly what exactly we'd put on there. I guess the channel that you're on, Nona Gonzalez: Yeah. Margaret Landford: the v the volume setting. Nona Gonzalez: Could it it It would be good if it had the actual programme that was on, and what was next. But that would probably be Donna Free: Like linked in with the teletext, Margaret Landford: Mm-hmm. Nona Gonzalez: Yeah. Donna Free: or sort Nona Gonzalez: That Donna Free: of like Nona Gonzalez: would be Donna Free: an Nona Gonzalez: good, yeah. Donna Free: teletext at your fingers, without having Nona Gonzalez: Yeah. Donna Free: to access that through the television. Nona Gonzalez: Might be quite expensive to do that though. Donna Free: Mm, Yeah. Could be. Margaret Landford: Well Aurea Mckenzie: Right. Margaret Landford: I guess that's something we can all take back to our respective research. Donna Free: Mm-hmm. Margaret Landford: Um, and finally, whoops, my personal preferences and thoughts. Um, I think our priority really should be unique design. Um, we want something that people want in their home. Every remote control looks the same, so uh in my opinion it should be, um, user-friendly and unique. So the other stuff might be a little too, a little too gadgety for some people. Donna Free: Yeah. Margaret Landford: Um, I th myself, voice recognition kind of scares Margaret Landford off. So if we're, if we're Donna Free: Mm. Margaret Landford: aiming to make this an international university, universally accepted product Um, and for all, the other thing is like age market. I mean if we wanted to concentrate on fifteen to twenty five years olds, we could go for the fancy stuff. But if we wanna make fifty million, and and have everyone want this remote control, we should maybe stick to the basics. Aurea Mckenzie: Mm-hmm. Nona Gonzalez: And we should keep in mind that fifteen to twenty five year olds might not have twenty five Euros to spend on a remote control. Margaret Landford: Mm-hmm. Nona Gonzalez: Like their priorities might not be a fancy remote control, when they're just starting out and, Margaret Landford: Right. And we have to Nona Gonzalez: yeah. Margaret Landford: keep in mind the, the reliability of our research. I mean, you know, a sixteen year old boy would say, yeah I'd pay extra for voice recognition, until they realise that's three months allowance. Nona Gonzalez: Yeah. Margaret Landford: Um, Nona Gonzalez: Yeah. Margaret Landford: so I I think, I think the older generations we should be catering to a bit more. Nona Gonzalez: Early twenties, Aurea Mckenzie: Yeah. Nona Gonzalez: that's the kind of age group. Aurea Mckenzie: And if one of the largest, Nona Gonzalez: Twenties. Aurea Mckenzie: uh, or most complained about thing is that it takes so long to get to know how Margaret Landford: Yeah. Aurea Mckenzie: to use a Donna Free: Yeah. Aurea Mckenzie: remote control, I'm sure that something like an L_C_D_ screen or remote control would be just furthering that problem. Donna Free: Yeah. Margaret Landford: Yep. Donna Free: Complicated Aurea Mckenzie: Yeah. Nona Gonzalez: Yeah. Donna Free: jus complicating things even fo Aurea Mckenzie: Alright. Donna Free: Mm. Margaret Landford: Okay. Donna Free: Okay. Margaret Landford: That's it for the market research. Aurea Mckenzie: Okay. Before we go into uh more discussion on we want this design to look like, I've received some information from the management that will affect some of our decisions. Um, for one thing, because Having controls with D_V_D_, V_C_R_, that sort of thing, would really complicate the design of the remote control. Um, we've decided not to include them and make it a specific, just a specific television um function. decided that we would like to go with that anyway. Um, for many reasons. So um we have that decision sort of made for us. Another thing that might um affect other decisions is that um the management feels that teletext is outdated, because more people are using the internet now. And so uh we won't concern ourselves with um navigating the teletext option. Donna Free: Can I just interrupt? Aurea Mckenzie: Yep. Donna Free: Would you like to plug in Margaret Landford: Yeah. Maybe we Donna Free: your Margaret Landford: can do the Donna Free: Have Aurea Mckenzie: Okay, Donna Free: you Aurea Mckenzie: sure. Donna Free: got a PowerPoint or not? Aurea Mckenzie: Yeah I do. I'm Donna Free: Okay. Aurea Mckenzie: looking at Donna Free: Thanks. Aurea Mckenzie: looking at it right now. Margaret Landford: There you go. Aurea Mckenzie: thank you. Margaret Landford: Oh, come back screen. Hmm. Donna Free: Were they, was the management suggesting use of the internet rather than teletext, or just avoiding both altogether? Aurea Mckenzie: Um, well, I mean we don't have the resources or Donna Free: Yeah. Aurea Mckenzie: or possibility Donna Free: Yeah. Aurea Mckenzie: of using the internet with the remote control, but um they were just pretty much saying that Donna Free: Okay. Aurea Mckenzie: the teletext would not Donna Free: Yeah. Aurea Mckenzie: be used. Donna Free: Okay. Aurea Mckenzie: Alright, and another thing. This is for the design, the design of the product is that um we wanna create, um more of a sense that people know that this is from our company. So, Donna Free: Right. Aurea Mckenzie: um, all the remote controls must have our um We'll incorporate our logo and colour in in Donna Free: Yeah. Aurea Mckenzie: some way. Donna Free: Yeah. Aurea Mckenzie: So, um, perhaps um our logo on the bottom, or wherever you feel like it would look good. Donna Free: Okay. Aurea Mckenzie: Um, it doesn't have to be the colour of our um Donna Free: Just Aurea Mckenzie: of our company but, another thing is that, um we need to, we probably would have to have that colour and, and logo decided upon. Um, I'm assuming that we already have one, but for the purposes of this meeting I, I wasn't offered a, like a type of logo or colour, so Donna Free: Okay. Aurea Mckenzie: if that Donna Free: Work Aurea Mckenzie: could be Donna Free: on that. Aurea Mckenzie: um somewhere on the design so that we can be recognisable. Margaret Landford: It's probably R_ R_R_ in yellow. Nona Gonzalez: Yeah. Donna Free: Yeah. Aurea Mckenzie: The little R_ R_ yellow thing? Okay. Margaret Landford: Yeah, Nona Gonzalez: Yeah. Donna Free: Mm-hmm. Margaret Landford: I think. Aurea Mckenzie: Real Reaction? Okay. Um, yes, those are the changes. Um, so, now we need to discuss, um and come to a decision on our remote control functions, of, of how this is going to be. I'm just going to look at my notes for a second. Um, we have to decide on a target group and the functions of the remote control. So, Donna Free: Okay. Aurea Mckenzie: um, we already know that it'll just be for the television. It'll It won't have teletext. But um, you know, we could discuss um those other options that you brought up, Genevieve. Margaret Landford: Okay, so I Are we going to write off the L_C_D_ option? Donna Free: Yeah. Aurea Mckenzie: Is Nona Gonzalez: Yeah. Aurea Mckenzie: that Margaret Landford: Yeah? Aurea Mckenzie: how most people feel about that? Donna Free: Yeah. Margaret Landford: Okay. Aurea Mckenzie: Okay. Margaret Landford: So no L_C_D_, no teletext, and no voice recognition. Nona Gonzalez: I think it would be annoying though if I don't use teletext that much, but if it was on your T_V_, you'd want to be able to use it, if Aurea Mckenzie: Yeah, but another Nona Gonzalez: You'd Aurea Mckenzie: thing Nona Gonzalez: Yeah. Aurea Mckenzie: is that if we're reaching an international crowd, um, I know for one that in North America there Margaret Landford: Yeah. Aurea Mckenzie: is no such thing Nona Gonzalez: So Aurea Mckenzie: as teletext, Nona Gonzalez: is it just Aurea Mckenzie: so Margaret Landford: Never Donna Free: Yeah. Aurea Mckenzie: it'd be Margaret Landford: heard Aurea Mckenzie: really Margaret Landford: of it. Aurea Mckenzie: superfluous. Nona Gonzalez: Okay. Alright. Aurea Mckenzie: Yeah. Nona Gonzalez: Right. Aurea Mckenzie: I don't know about other countries besides the U_K_. Do you know if anywhere else Nona Gonzalez: I don't Donna Free: I Nona Gonzalez: know. Donna Free: don't know. Aurea Mckenzie: has it? Nona Gonzalez: I don't Donna Free: More Nona Gonzalez: know. Donna Free: research required, I think. Aurea Mckenzie: Alright. Donna Free: But if Was it a management decision that we're Aurea Mckenzie: It was Donna Free: having Aurea Mckenzie: a management Donna Free: Okay. Nona Gonzalez: Yeah. Aurea Mckenzie: decision, Donna Free: So Aurea Mckenzie: so it's, it's pretty much out of our hands at this point. Donna Free: Okay. Nona Gonzalez: Okay then. Aurea Mckenzie: 'Kay. So, I guess we're looking at something rather simple. Margaret Landford: Um, well I guess, just from my findings it looks like we wanna minimise buttons. Donna Free: 'Kay. Margaret Landford: Um. Donna Free: Minimal Margaret Landford: And the What was the word they used? F findability is important. Aurea Mckenzie: Yeah. I think we should definitely go ahead with the alarm system idea Donna Free: Yeah Aurea Mckenzie: that you Margaret Landford: Mm-hmm. Aurea Mckenzie: had. Nona Gonzalez: Yeah. Aurea Mckenzie: 'Cause Donna Free: okay. Aurea Mckenzie: I'm sure that could be inex inexpensive because we could use the same kind of infrared Donna Free: Yeah. The same signalling. Aurea Mckenzie: the same Donna Free: I mean Aurea Mckenzie: signal through that and it could just like make a little beeping noise. It's not Donna Free: Or Aurea Mckenzie: that expensive Donna Free: vibrate Aurea Mckenzie: to do. Donna Free: just the same as a mobile phone. Like you just a, Aurea Mckenzie: Yeah. Donna Free: a buzz or something. Margaret Landford: Mm-hmm. Aurea Mckenzie: Yeah. Donna Free: Yeah. Aurea Mckenzie: Okay. I like that idea. Nona Gonzalez: Would you be able to, um, put the little device anywhere? 'Cause uh isn't our remote control for all T_V_s, so Donna Free: If Nona Gonzalez: you'd ha Donna Free: Do you mean the the link between the Nona Gonzalez: Yeah, with the button Donna Free: Well, Aurea Mckenzie: Yeah. Nona Gonzalez: that you pressed. Aurea Mckenzie: The button Donna Free: if the button Aurea Mckenzie: Oh. Donna Free: was actually on Nona Gonzalez: Yeah. Donna Free: Oh, Nona Gonzalez: C 'cause Donna Free: yeah. Nona Gonzalez: then it would only be a Aurea Mckenzie: Minor detail Nona Gonzalez: applicable Aurea Mckenzie: there. Nona Gonzalez: to one T_V_ set, so it would need to be something that Donna Free: Maybe Nona Gonzalez: you could stick somewhere, Donna Free: Yeah, yeah. Nona Gonzalez: or something. Donna Free: Maybe Aurea Mckenzie: Yeah, it Donna Free: something Aurea Mckenzie: would have t Donna Free: adhesive that you could like stick onto the back of Nona Gonzalez: Yeah. Donna Free: any set that would be Aurea Mckenzie: Mm-hmm. Donna Free: um yeah not very obtrusive. Obviously something small that's Nona Gonzalez: Yeah. Donna Free: Yeah, that's a good point. Aurea Mckenzie: Yeah. Then it wouldn't, it probably wouldn't be able to use It would be able to use the same reception on the remote c control I guess, but the actual device would have to have its own Donna Free: Yeah. Aurea Mckenzie: infrared Nona Gonzalez: Yeah. Aurea Mckenzie: signaller. Okay. Donna Free: Yeah, okay. Nona Gonzalez: Would it need a battery then? Aurea Mckenzie: Maybe, um Donna Free: Pr probably. Aurea Mckenzie: Probably, I mean. Donna Free: Unless it could Aurea Mckenzie: That's your Donna Free: be Aurea Mckenzie: department you'll have to Margaret Landford: Mm. Aurea Mckenzie: sort that out. Donna Free: Okay. Um, unless some way, it could have some universal connection to like the socket, the same socket that the T_V_'s supplied from. I mean the power for the T_V_. Nona Gonzalez: Yeah. Donna Free: So, Aurea Mckenzie: Yeah, you'll Donna Free: mm, Aurea Mckenzie: have to Yeah, Donna Free: more Aurea Mckenzie: you'll Donna Free: research Aurea Mckenzie: have to Donna Free: into Aurea Mckenzie: investi Donna Free: that one. Margaret Landford: Mm. Aurea Mckenzie: Do Donna Free: Yeah. Aurea Mckenzie: some research on that, alright? Great. Um, alright, and I'm sure that, um um, the glow-in-the-dark, fluorescent, whatever, system, um is a go ahead. Is Donna Free: Y Aurea Mckenzie: everyone interested Margaret Landford: On Aurea Mckenzie: in Margaret Landford: the buttons? Aurea Mckenzie: that? Nona Gonzalez: I I like the light up suggestion. I think that would Donna Free: Yeah. Nona Gonzalez: be better. 'Cause you know Aurea Mckenzie: Yeah. Nona Gonzalez: the way fluorescent lights lose their brightness Donna Free: Yeah. Nona Gonzalez: after Donna Free: Yeah. Nona Gonzalez: certain time, so Aurea Mckenzie: Yeah. Donna Free: Yeah. Nona Gonzalez: I would Margaret Landford: it Nona Gonzalez: go Margaret Landford: doesn't Nona Gonzalez: for Margaret Landford: It could it could be a tactile thing as well. Um right, if w if we're minimising buttons, we might be able to make them actually larger. And there's something on it. S you know like Donna Free: Like a raised Margaret Landford: up arrow down arrow for, for volume. Um, and I don't know what we could do for, for channels. S Nona Gonzalez: Well just the numbers could be embossed, couldn't it? Like raised. Margaret Landford: The numbers themselves. Nona Gonzalez: Yeah. Margaret Landford: But then Nona Gonzalez: Could Margaret Landford: the Nona Gonzalez: be Margaret Landford: like Nona Gonzalez: raised. Margaret Landford: up button and down button for the channel, channel changing. Nona Gonzalez: Just little arrows, that Margaret Landford: Yeah. Nona Gonzalez: you could feel, Donna Free: Yeah Nona Gonzalez: maybe? Aurea Mckenzie: Hmm. Margaret Landford: I just thought that it, it might be sucking more battery power, if there, if it is a light up. I'm not sure. Nona Gonzalez: Yeah. Donna Free: That's Aurea Mckenzie: Yeah. Donna Free: true. And Aurea Mckenzie: But Donna Free: also Aurea Mckenzie: I mean Donna Free: y, uh Heather you mentioned before, um like how it should be accessible to everybody. Aurea Mckenzie: Yeah. Donna Free: Um, so like big b um buttons, for people you are visually impaired. Nona Gonzalez: Yeah. Donna Free: The glow-in-the-dark Margaret Landford: Mm-hmm. Donna Free: or light up won't make any difference anyway. So like you Nona Gonzalez: That, Donna Free: say tactile Nona Gonzalez: I think that's Donna Free: might be Nona Gonzalez: good, Donna Free: better, Nona Gonzalez: yeah. Donna Free: because it'd be more available to Aurea Mckenzie: Yeah. Donna Free: everybody. Aurea Mckenzie: Could we somehow We could, may, possibly, sorry, incorporate them both so that Margaret Landford: Mm-hmm. Donna Free: Yeah. Nona Gonzalez: Yeah. Aurea Mckenzie: the Donna Free: Yeah. Aurea Mckenzie: buttons could maybe be in the shape of the numbers themselves and Nona Gonzalez: Yeah. Aurea Mckenzie: be made out of some glow-in-the-dark Donna Free: Mm-hmm. Aurea Mckenzie: material. Nona Gonzalez: Yeah. Donna Free: Yeah. Aurea Mckenzie: 'Cause Margaret Landford: Mm-hmm. Aurea Mckenzie: I d I don't think that glow-in-the-dark material, um, like the actual soft plastic, um, costs that much more Nona Gonzalez: No, Donna Free: No, Nona Gonzalez: I Aurea Mckenzie: than other Nona Gonzalez: wouldn't Aurea Mckenzie: colours. Donna Free: it's Nona Gonzalez: say so. Donna Free: not these days. I mean, it's quite easily Aurea Mckenzie: Yeah. Donna Free: accessible. Margaret Landford: I guess the other option, referring to the battery thing is, you know how cellphones will t light up for fifteen seconds Donna Free: Yeah. Margaret Landford: or something, when Nona Gonzalez: That's Margaret Landford: you're s Donna Free: Yeah. Nona Gonzalez: good Yeah Margaret Landford: and then Nona Gonzalez: that Margaret Landford: it goes, Nona Gonzalez: a good Margaret Landford: so Nona Gonzalez: idea. Margaret Landford: if, if you're like changing the volume during a movie. I know, I'm thinking of mostly when Donna Free: Yeah. Margaret Landford: you're watching a movie you turn all the lights off right. Nona Gonzalez: Yeah. Margaret Landford: And Donna Free: Yeah. Margaret Landford: you don't want to turn on the lights, to turn it down, because there's suddenly an explosion, and it's gonna wake up the baby. Nona Gonzalez: Yeah. Margaret Landford: Um, so if you touch the button, it kind of reactivates it. It lights Nona Gonzalez: That, Donna Free: Yeah. Margaret Landford: up for Nona Gonzalez: yeah, Donna Free: Yeah. Nona Gonzalez: that's a good idea. Margaret Landford: On self timer. Donna Free: So self-timed lighting. Margaret Landford: Yeah. Aurea Mckenzie: Alright we have five minutes left Donna Free: Um, Aurea Mckenzie: um, Donna Free: I Aurea Mckenzie: for the meeting, but I think we should discuss this light subject a little bit more before we close. Um, what was I missed the last moment, reading that. What were you talking about with the lighting up buttons? Margaret Landford: Oh, just if it was kinda the same way that a cell You know how a cellphone will light up for about ten, fifteen seconds when you touch a button, after Aurea Mckenzie: Yeah. Margaret Landford: having not touched it for a while. Aurea Mckenzie: Yeah. Margaret Landford: Um, if instead of a constant light up on the, on the remote control, if it lights up for ten seconds when it's touched again. Aurea Mckenzie: Mm. So it could be any button that would be pressed. Margaret Landford: Yeah, Donna Free: Yeah. Margaret Landford: and you, you touch it and it just kind of lights up a bit, and it gives Donna Free: So, Margaret Landford: a faint Donna Free: self-timed Margaret Landford: glow. So if you have all the lights off in your living room, you'll, Aurea Mckenzie: Yeah. Margaret Landford: you'll temporarily see it. Because usually you're not fooling around for it for more than what ten seconds. Donna Free: Yeah. Nona Gonzalez: Yeah. Aurea Mckenzie: Okay, so Margaret Landford: So Donna Free: Yeah. Aurea Mckenzie: That's probably feasible. So, do you think that we should do the lighting up thing, and the glow-in-the-dark thing, and the shape of the numbers? Do we have to kind of decide what we're gonna do with this. Margaret Landford: Mm-hmm. Donna Free: I think the shape of the numbers is a really good idea. Nona Gonzalez: Yeah. Aurea Mckenzie: Yeah, okay. Donna Free: And I think Nona Gonzalez: For Donna Free: that's Nona Gonzalez: visually Donna Free: un unique Nona Gonzalez: impaired, Donna Free: as well. I Aurea Mckenzie: Yeah. Donna Free: mean, I haven't Nona Gonzalez: yeah. Donna Free: seen that. Margaret Landford: Mm-hmm. Donna Free: And as you're saying like numbers can wear off if they're just sort of like Aurea Mckenzie: Yeah, Donna Free: painted on, Aurea Mckenzie: yeah. Donna Free: you Aurea Mckenzie: And it Donna Free: know Aurea Mckenzie: could, Donna Free: printed. Aurea Mckenzie: if it's that softer rubber material it'll be, maybe, um, uh, better for people with um Donna Free: durable. Aurea Mckenzie: els no what's it called, R_S_I_, what was it that Donna Free: Oh Aurea Mckenzie: we were Donna Free: yeah. Aurea Mckenzie: talking about? Nona Gonzalez: Yeah. Margaret Landford: Oh right, Aurea Mckenzie: Yeah. Donna Free: Yeah. Margaret Landford: the Donna Free: Yeah. Repetitive Aurea Mckenzie: Yeah instead of Donna Free: strain Aurea Mckenzie: like hard Donna Free: injury. Aurea Mckenzie: buttons. Okay. Donna Free: Mm-hmm. Aurea Mckenzie: Um, did we want to go for the glow-in-the-dark look? Or Nona Gonzalez: If Aurea Mckenzie: did we want to go for the lighting up instantly? Like should we do both? Or we can have one or the other? Because it might, for, for our design purposes, I mean, the lighting up thing might be better because Margaret Landford: Mm-hmm. Aurea Mckenzie: glow-in-the-dark material has a funny kinda colour. Margaret Landford: I Aurea Mckenzie: And Margaret Landford: was Aurea Mckenzie: it might Margaret Landford: gonna Aurea Mckenzie: not Margaret Landford: say, Aurea Mckenzie: go with different like face plates that we might come up with. Margaret Landford: Exactly. Donna Free: Yeah. Margaret Landford: It the it might be perceived as tacky, glow-in-the-dark. It's kind Aurea Mckenzie: Yeah. Margaret Landford: of like Eighties neon-style. Donna Free: Yeah, Margaret Landford: Um, whereas Donna Free: and Margaret Landford: we're Donna Free: we Margaret Landford: trying Donna Free: could Margaret Landford: to be trendy and fashionable. Donna Free: Yeah Margaret Landford: So Donna Free: there are now like loads, or a huge range of different colours that it could light up in as well, which could like link in with the company colours. Like it could be blue or green or yellow, Margaret Landford: Mm-hmm. Aurea Mckenzie: Right. Donna Free: or like Aurea Mckenzie: Right. Donna Free: we've just limited t with the, just ordinary phosphorescent so Aurea Mckenzie: Alright. So we've decided on lighting up Nona Gonzalez: I was thinking Aurea Mckenzie: things. Nona Gonzalez: though, if it was glow-in-the-dark, you could put the um Real Reaction symbol as glow-in-the-dark, and then it would be constantly advertised. Donna Free: Yeah. Margaret Landford: Mm. Donna Free: Every time the, that it lit Aurea Mckenzie: Yeah. Donna Free: up, you c that could light up as Nona Gonzalez: Yeah. Donna Free: well. Or, Nona Gonzalez: Yeah. Donna Free: or Aurea Mckenzie: Yeah. Donna Free: the, whate Aurea Mckenzie: But with the same thing, I Margaret Landford: That's Aurea Mckenzie: mean. Margaret Landford: true. Aurea Mckenzie: If you touch the button Donna Free: Yeah. Aurea Mckenzie: and then it Nona Gonzalez: Yeah. Aurea Mckenzie: could be, Nona Gonzalez: Okay. Aurea Mckenzie: it could be lit up as well. Is Are you okay with that? Nona Gonzalez: Yeah. Aurea Mckenzie: Okay. Cool. Um Alright. So I think that um Donna Free: Is Aurea Mckenzie: that completes most of our um our more uh practical decisions. And now it's up to designing. And um making sure that this can be feasible. Margaret Landford: What um Aurea Mckenzie: And do you have anything Margaret Landford: Oh Aurea Mckenzie: Do Margaret Landford: sorry. Aurea Mckenzie: you have anything to say? Margaret Landford: Yeah well, I was just gonna throw out there the thought about um personalising the remote control. Um, it, you, 'cause you mentioned face plates. So I I dunno if there's something that diff, you know like five different face plates. I dunno if this will start making it more complicated, but it could increase the popularity of the, of the remote. Donna Free: Okay. Nona Gonzalez: Oh yeah. Donna Free: Like Margaret Landford: Um Donna Free: you can have changeable Nona Gonzalez: Interchangeable thing? Donna Free: um Margaret Landford: Yeah, Donna Free: mobile covers Aurea Mckenzie: Like an iPod Donna Free: or something. Nona Gonzalez: That would Aurea Mckenzie: or something? Nona Gonzalez: be good. Margaret Landford: Exactly, Donna Free: Yeah, Margaret Landford: like Aurea Mckenzie: Okay. Margaret Landford: an Nona Gonzalez: Yeah. Margaret Landford: iPod. Exactly. Donna Free: or Okay. Margaret Landford: Or, or like mobile Aurea Mckenzie: Like a Margaret Landford: ph. Aurea Mckenzie: cellphone? Yeah. Margaret Landford: And I dunno if we'd want to go with like T_V_ show themes or something. Like a Bart Simpson faceplate. Nona Gonzalez: Yeah, and then that Margaret Landford: But Nona Gonzalez: would be uh more profitable like as a sideline to the remote Aurea Mckenzie: Mm-hmm. Nona Gonzalez: as well. Donna Free: Yeah. Nona Gonzalez: Y Margaret Landford: Mm-hmm. Nona Gonzalez: Could buy Aurea Mckenzie: Accessories. Margaret Landford: Exactly. Nona Gonzalez: extra Margaret Landford: You could start out with Donna Free: Person Margaret Landford: three, and if, if we hit it big then we can add Nona Gonzalez: Yeah. Margaret Landford: some on. Donna Free: Yeah. Well, Nona Gonzalez: That's Donna Free: that's Nona Gonzalez: a good idea. Donna Free: great. Aurea Mckenzie: Yeah. Nona Gonzalez: Yeah. Aurea Mckenzie: I think that we should incorporate that. Donna Free: Interchangeable. Um, Aurea Mckenzie: 'Cause Donna Free: als Aurea Mckenzie: that wouldn't be very expensive at all. You'd Nona Gonzalez: No. Aurea Mckenzie: just get one mould, Donna Free: Yeah. Margaret Landford: Mm-hmm. Donna Free: Interchan Aurea Mckenzie: throw some plastic in it, you know. Donna Free: And also possible I mean, uh, we could gain out of that by advertising certain T_V_ shows, or Nona Gonzalez: Oh Aurea Mckenzie: Yeah. Nona Gonzalez: yeah. Aurea Mckenzie: Well, that might be com Margaret Landford: Right. Aurea Mckenzie: problematic with um copyright issues. Donna Free: Yeah. Aurea Mckenzie: So, Donna Free: But if we, there Aurea Mckenzie: if Nona Gonzalez: If Donna Free: is Aurea Mckenzie: it Nona Gonzalez: w Aurea Mckenzie: takes off then we'll, Donna Free: Yeah. Aurea Mckenzie: we'll, Donna Free: We could Aurea Mckenzie: we'll try that out. Donna Free: Um, the environmental factor, we didn't bring that up again. Margaret Landford: Right. Aurea Mckenzie: Right. We'll have to do more research. Like as of yet, that has nothing to do with, um, the way it'll look. Donna Free: Yeah. Aurea Mckenzie: Um, does it need to be reached a de Do we need to reach a decision on that right now? Donna Free: Um, Aurea Mckenzie: Because Donna Free: I've Aurea Mckenzie: we need to investigate the financial implications. Donna Free: Okay. Aurea Mckenzie: Okay. Donna Free: Let's Aurea Mckenzie: Is it Does it need to be uh decided on now? Or Donna Free: I Aurea Mckenzie: should we Donna Free: think we could probably leave that 'til later on, Aurea Mckenzie: Okay. Donna Free: then. Aurea Mckenzie: Good. Alright then. Anyone else have anything more to say before we close? Nona Gonzalez: No. Donna Free: No. Aurea Mckenzie: Alright, well. Let's have lunch and we'll discuss this later. Nona Gonzalez: Okay. Donna Free: Okay. Aurea Mckenzie: Alright? Donna Free: Thank you.

Aurea Mckenzie opens the meeting, asking Donna Free to present first. Donna Free begins talking about the functional aspect of the working design and features to make the product unique, such as visibility in the dark, locator alarm, and environmentally-friendly materials. To make an environmental impact, they could use smart materials that can be heated and cooled so that the individual components easily separate to be reused or recycled. The group asks some questions about this idea and then the interface designer presents about technical functions, explaining the difference between a multifunctional and single function remote. The group discusses the two types and decides that a single function design is more suitable for the budget. Margaret Landford presents on user requirements by using research done on remote control users. She summarizes these findings andexplains her personal preference for a user-friendly, unique design since certain features could be too complex. Aurea Mckenzie receives some decision-affecting information from management, which she shares with the group. They have a discussion about the remote control functions and close the meeting.

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train

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

Judy Francois 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. Linda Hoyle 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

Christine Lee: Okay. Oh, that's not gonna work. Christine Lee: Oh, alright. Okay. Christine Lee: Okay. Um Frances Swan: Uh, uh, um. Christine Lee: 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 Christine Lee. 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. Frances Swan: Okay. I am Corinne Whiting and I will be Frances Swan 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. Christine Lee: 'Kay. Mae Morgan: Hiya, I'm Ryan. Um I'm Mae Morgan. 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. Connie Herrera: 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. Christine Lee: 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. Mae Morgan: Yeah. Well uh s function of remote control is just just you know, change channels is its main function. Christine Lee: 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? Mae Morgan: Oh right. I suppose you c try make it a universal remote Christine Lee: 'Kay. Mae Morgan: for could work on all sort of electrical products in in one person's house. Frances Swan: Mm. Mae Morgan: But, you know, they all sorta have the same role changing channels, volumes and then programming. Christine Lee: Mm-hmm. 'Kay. Mae Morgan: I think Connie Herrera: Mm. Mae Morgan: 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? Christine Lee: I Mae Morgan: Ye Christine Lee: I think yeah, Mae Morgan: yeah. Christine Lee: yeah, r universal remote. Um this is my first uh go-round Frances Swan: Huh. Christine Lee: with creating a remote control, so Frances Swan: Ours too. Christine Lee: I think we're all in the same boat here. Um Mae Morgan: Um one thing I thought of with the remote control is you always lose 'em. Christine Lee: Okay. Frances Swan: Mm. Mae Morgan: So if there's a g a way Frances Swan: Ch Mae Morgan: of finding it quite easily, Christine Lee: So Mae Morgan: I thought that'd Christine Lee: we Mae Morgan: be Christine Lee: should Mae Morgan: quite good Christine Lee: we Mae Morgan: quite Christine Lee: should Mae Morgan: a good feature. Christine Lee: set our remote control up to where it has a uh Frances Swan: Like a tracking device? Christine Lee: like a tracking device Mae Morgan: Oh Christine Lee: or Mae Morgan: you can get those key Christine Lee: or like a a Mae Morgan: well you could whistle or make a noise Christine Lee: It Mae Morgan: and Christine Lee: makes Mae Morgan: it'd Christine Lee: a noise, Mae Morgan: beep. Christine Lee: there's a button Connie Herrera: Mm, mm. Christine Lee: on the T_V_ that you press Frances Swan: Mm. Mae Morgan: Yeah. Christine Lee: and Connie Herrera: Right. Christine Lee: 'Kay. Frances Swan: Be good. Connie Herrera: So Mae Morgan: Generally, all remotes are sort of quite similar in their appearance. Christine Lee: Yeah. Mae Morgan: Just long. Christine Lee: Do we want so they're kinda like long and rectangular. Mae Morgan: Yeah. Christine Lee: Do Mae Morgan: Black Christine Lee: we want Mae Morgan: usually. Christine Lee: something crazy? You know, Mae Morgan: Yeah. Christine Lee: we want something new that's gonna Frances Swan: Lot more Christine Lee: stand Frances Swan: modern. Christine Lee: out. Mae Morgan: I Christine Lee: A Mae Morgan: think Christine Lee: m a Mae Morgan: so. Christine Lee: modern so our remote should Mae Morgan: Maybe Christine Lee: be Mae Morgan: sorta spherical or something. A ball. Frances Swan: Maybe like user-friendly, like a little Mae Morgan: Yeah. Frances Swan: you know, where you can use both hands, like a little keyboard type Mae Morgan: People Frances Swan: thing. Connie Herrera: Mm. Mae Morgan: 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 Christine Lee: 'Kay. Mae Morgan: maybe the actual controls are inside or something. Frances Swan: Mm. Christine Lee: Um. Connie Herrera: Well there are of course certain restrictions, you can't have it be any form and fulfil all functions at the Mae Morgan: Yeah. Connie Herrera: 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. Frances Swan: Mm. Connie Herrera: 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, Christine Lee: Okay Connie Herrera: have Christine Lee: so Connie Herrera: to buy one Christine Lee: yeah, Connie Herrera: every Christine Lee: so Mae Morgan: Yeah. Christine Lee: we Connie Herrera: half Christine Lee: want Connie Herrera: a Christine Lee: it Connie Herrera: year? Christine Lee: 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 Mae Morgan: Yeah. Christine Lee: ball-shaped, uh you know, if it were ball-shaped maybe, Mae Morgan: It could Christine Lee: then Mae Morgan: be Christine Lee: it Mae Morgan: cased on the outside and t everything could be inside. Christine Lee: '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. Christine Lee: 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. Frances Swan: Mm. Also since we're partners of the International Remote Control Association, maybe we wanna make it something that would globally appeal. Christine Lee: 'Kay. Frances Swan: That's more on the research end, but the marketing. Christine Lee: So marketing, you know, how maybe uh marketing, you could s find out what is the most universally um appealing remote control out there. Frances Swan: Yeah. And maybe as far as design goes, maybe we could have different ones for different target audiences, Christine Lee: 'Kay. Frances Swan: 'cause maybe Mae Morgan: Ye Frances Swan: one won't apply to Mae Morgan: Small. Frances Swan: all of the countries we're targeting. Connie Herrera: Right. Christine Lee: Um Christine Lee: 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, Mae Morgan: I'd I could draw Christine Lee: you know, Mae Morgan: sorta Christine Lee: we'll Mae Morgan: the Christine Lee: draw Mae Morgan: ball Christine Lee: up Mae Morgan: idea. Christine Lee: we'll draw up the ball and maybe th um where the buttons are located. Mae Morgan: 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. Frances Swan: Futuristic. Mae Morgan: That was that was a sorta simple idea I had Christine Lee: Uh-huh. Mae Morgan: 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? Connie Herrera: Right. One problem you'd get with this design is um the ball is a nice idea because of it's stability Mae Morgan: Yeah. Connie Herrera: really, but of course, since it's a ball, it'll roll, so Mae Morgan: Yeah. Connie Herrera: we'd have to have it flat on one Mae Morgan: Maybe Connie Herrera: side Mae Morgan: f yeah. Connie Herrera: at least, down here somewhere, take away that part. That's one of the big issues. Mae Morgan: Yeah, Connie Herrera: Also Mae Morgan: that's g that's a good idea. Connie Herrera: also you risk the hinges here. Mae Morgan: Yeah. Connie Herrera: That's that's um Mae Morgan: The Connie Herrera: a Mae Morgan: idea Connie Herrera: problem. Mae Morgan: it didn't have to necessarily be f a hinge, that Connie Herrera: That's Mae Morgan: was just one idea though. Connie Herrera: that's interesting of course, but that's of course a weak point, yeah. Mae Morgan: Yeah. Christine Lee: 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, Connie Herrera: E No Christine Lee: but Connie Herrera: no, uh uh. Christine Lee: What did you say your Connie Herrera: N Christine Lee: title Connie Herrera: n Christine Lee: was again? Connie Herrera: Uh, I'm your Christine Lee: You're the Connie Herrera: Industrial Designer, Christine Lee: Connie Herrera. Connie Herrera: so i b well, the point is that well maybe I dunno. The shape is perhaps not the most ideal. Christine Lee: Okay. Connie Herrera: As as stable as it is, there must be a compromise between um Mae Morgan: Well I I suppose that things become Connie Herrera: stability Mae Morgan: design. Connie Herrera: and design Frances Swan: Mm-hmm. Connie Herrera: here, Mae Morgan: But I Connie Herrera: so. Mae Morgan: 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 Christine Lee: Yeah. Mae Morgan: there's nothing being done sort of out of left Christine Lee: It's Mae Morgan: field, Christine Lee: not new, it's not Mae Morgan: yeah. Christine Lee: innovative, it's you know, everybody does long remote because it's Mae Morgan: Yeah. Christine Lee: easy, it's it's stable um. Frances Swan: 'Kay, I'll draw something. Christine Lee: So if Frances Swan: What? Christine Lee: no, go ahead. Frances Swan: My idea was just to have it be kind of like a keyboard type shape, you know, like video Mae Morgan: Yeah. Frances Swan: 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. Mae Morgan: I think definitely doing something different Frances Swan: Yeah. Mae Morgan: is a good idea. Connie Herrera: Mm. Mae Morgan: 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. Christine Lee: Something Frances Swan: Mm. Christine Lee: with a grip. Mae Morgan: Yeah, Frances Swan: Yeah. Mae Morgan: with a grip. Christine Lee: Yeah. Because even I suppose even with the ball Mae Morgan: It still might be hard to Christine Lee: it's Mae Morgan: it still not Christine Lee: it might Mae Morgan: the ho Christine Lee: not be the easiest Mae Morgan: easiest Christine Lee: to hold Mae Morgan: thing Christine Lee: onto Mae Morgan: to hold, yeah. Christine Lee: um. Connie Herrera: Mm. Christine Lee: So perhaps the the joystick Mae Morgan: Like Christine Lee: the Mae Morgan: yeah. Christine Lee: the keyboard idea might work better. But then again, people like to use one hand to flip and one hand to hold their soda, Mae Morgan: Yeah. Christine Lee: so maybe Frances Swan: True. Christine Lee: maybe Mae Morgan: It's Christine Lee: we Mae Morgan: d yeah. I think it's definitely got to be a a one-handed Frances Swan: Mm. Mae Morgan: a one-handed job. Christine Lee: I feel like I'm just shooting everything down here. Uh Frances Swan: That's fine. Christine Lee: um Frances Swan: You're the boss, you're allowed to. Connie Herrera: 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 Frances Swan: Yeah. Connie Herrera: if the Christine Lee: Yeah. Connie Herrera: 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 Christine Lee: Okay, so Connie Herrera: So Christine Lee: 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. Christine Lee: 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 Mae Morgan: Yeah. Christine Lee: 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. Connie Herrera: The question is also, I dunno, d do you really always want to open that thing when you have to use it? Christine Lee: Mm, that's true. Connie Herrera: 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 Christine Lee: So Connie Herrera: stable Christine Lee: we don't have it flip open. Connie Herrera: uh. Christine Lee: We just have a ball Mae Morgan: But then maybe to go back to the to th s Connie Herrera: To Mae Morgan: something Connie Herrera: the other Mae Morgan: along Connie Herrera: design. Mae Morgan: those things then. Christine Lee: Okay, so then we forget the ball. Connie Herrera: It Frances Swan: Looks cool though. Christine Lee: It looks cool, Connie Herrera: looks Frances Swan: Yeah. Connie Herrera: cool. Christine Lee: but it's really not it's not Connie Herrera: Uh Christine Lee: functional Connie Herrera: functional. Christine Lee: 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 Mae Morgan: Yeah. Christine Lee: then it's it's like the rectangular again, only with a couple of jutting out points. Connie Herrera: Right. Right. Christine Lee: But it's one-handed um. Connie Herrera: 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, Frances Swan: Mm. Christine Lee: Yeah. Connie Herrera: right, makes it nice, so that's the essential part. Except for that I think Christine Lee: Yeah. Connie Herrera: we'll not probably not get a get away from some longer design. Frances Swan: Right. Connie Herrera: 'Cause you also have to know which way around to point this thing. Christine Lee: Yeah, Connie Herrera: You know, all that dif Christine Lee: because Connie Herrera: batteries Christine Lee: it doesn't have a cord, Connie Herrera: right, Christine Lee: like Connie Herrera: and Christine Lee: joysticks do. Connie Herrera: 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. Christine Lee: Is it possible to have it to where it would work with a like a sensor on either side? So that Connie Herrera: I suppose Christine Lee: either Connie Herrera: you could Christine Lee: way Connie Herrera: do Christine Lee: you're Connie Herrera: that. Christine Lee: pointing it it would Connie Herrera: O Christine Lee: work. Connie Herrera: of course the more technology you stick in that, the more Christine Lee: More Connie Herrera: it'll Christine Lee: expensive Connie Herrera: cost, Christine Lee: and Connie Herrera: so. Christine Lee: yeah. Connie Herrera: Course you can do that. Christine Lee: 'Kay. Um Connie Herrera: 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 Christine Lee: True. Connie Herrera: the buttons and stuff, but um it's rather about Mae Morgan: Put Connie Herrera: an Mae Morgan: it Connie Herrera: 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. Mae Morgan: 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 Frances Swan: Yeah. Mae Morgan: got something like that instead, and there's your s you kn you know which way you're gonna pointing it. Christine Lee: 'Kay. Frances Swan: Sorry Mae Morgan: Um Frances Swan: to interrupt, but we have a warning Christine Lee: Are we Frances Swan: to Christine Lee: out Frances Swan: finish. Christine Lee: of time? Frances Swan: Yeah. Connie Herrera: Mm. Christine Lee: Okay, well, just to finish up, should we s go with this plan, start making some Christine Lee: Are good ideas, what are not. Connie Herrera: Let's. Mae Morgan: Does it say what does Connie Herrera: Obviously Mae Morgan: it say for n it says on there what we need to do for the next meeting, I think. Christine Lee: Uh. Must Mae Morgan: T Christine Lee: finish now, so. And then marketing will look and see what uh what people want. Frances Swan: Mm. Connie Herrera: Alright. Frances Swan: Great. Christine Lee: Okay. And Project Manager will design a better meeting for next time around, be a little bit more prepared. And uh alright, good meeting.

Christine Lee opened the meeting and had the team members introduce themselves and describe their roles in the upcoming project. Christine Lee 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.

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train

Mariah Velasquez: Oh. Elizabeth Enriquez: Du Mariah Velasquez: Okay. Thanks Sherry Hofman: Hm. Mariah Velasquez: for coming to this meeting. S how we doing on our remote? We have some we have some ideas and some uh ideas for what people want. Elizabeth Enriquez: Uh we yes s I've lo I've the role that I was asked to anyway. Mariah Velasquez: Yeah. Elizabeth Enriquez: I think. Mariah Velasquez: Alright let's just go over the agenda real quick for this meeting. See if I can't get things uh moving along here a little bit better. Um I'll go over what we went over last time, which shouldn't take long. Then I believe each of you have a presentation. Um I've was sent a a couple more requirements for our remote, what they want. Um then we can come to a conclusion on uh what we want the remote to do, um and how it's going to do it hopefully. And uh then we'll have the closing. Um which we'll have forty minutes for. Uh let's see, the last meeting we went over um who was responsible for what. I'm responsible for leading the meetings, keeping the notes, uh and coming up with the final presentation. Um Corinne is our Marketing Expert. She's gonna figure out what what um the consumer wants. Um Ryan is our User Interface Designer. And Manuel is Jaime Bies. So you're gonna come up with the ideas Ryan, and you're gonna pick 'em apart. Um we decided our remote, uh we want it to be a universal remote uh that everyone would want. Um we want to be modern, um fun, different. Uh it needs to be sturdy, um easy to find, so we gonna have that locator function. Um and we want to be different. Um and then we went over a couple of different ideas. Ball-shaped phone. The keyboard shape. Um we decided that it should probably be one-handed. Something we could use with one hand. Um and that was our last meeting. So um why don't um Do each of you have a presentation? Sherry Hofman: Yep. Mariah Velasquez: Okay. I'll hand it off to you and um Does anyone do you wanna go first? Sherry Hofman: Sure. Mariah Velasquez: So we can maybe see what uh what the people want. Sherry Hofman: What was? Function Jaime Bies: Eight. Sherry Hofman: F_ Jaime Bies: F_ eight. Sherry Hofman: eight? Sherry Hofman: Well. How do I get it Elizabeth Enriquez: Slide show. Mariah Velasquez: To go to the Sherry Hofman: Oh Mariah Velasquez: next Sherry Hofman: right Mariah Velasquez: one? Sherry Hofman: right right. Mariah Velasquez: Yeah you click on that Sherry Hofman: That Mariah Velasquez: guy. Sherry Hofman: one? Mariah Velasquez: Yeah. Sherry Hofman: Okay. Alright. Well, this is my report, which is going to be based pretty much on a survey that I was sent. Oh gosh, I've no idea. G Elizabeth Enriquez: Just press the arrow keys I think. Usually Sherry Hofman: Okay. Elizabeth Enriquez: goes to it. Sherry Hofman: Sorry I actually need to see something else on my screen. Mariah Velasquez: Hit F_ eight again. Sherry Hofman: Yeah. Mariah Velasquez: I think. Sherry Hofman: And then? Again? Mariah Velasquez: Yeah. You want it to be on both screens, or Sherry Hofman: No Mariah Velasquez: just Sherry Hofman: I want Mariah Velasquez: just Sherry Hofman: something Mariah Velasquez: yours? Sherry Hofman: else on mine. Is that possible? Mariah Velasquez: Yeah but I think you have to hit escape. And then you can Yeah. Sherry Hofman: Okay but now you don't have that. Mariah Velasquez: Oh hit F_ eight again. Sherry Hofman: Sorry guys. Mariah Velasquez: I know. I did the same thing. And then it should come up here shortly. 'Kay. Sherry Hofman: So is there no way I can give you the slideshow Mariah Velasquez: I think Sherry Hofman: and Mariah Velasquez: oh give us the slideshow and Sherry Hofman: yeah. Mariah Velasquez: something on your screen? Sherry Hofman: Yeah. Oh Mariah Velasquez: Mm. Sherry Hofman: well. Mariah Velasquez: I'm not sure. You could maybe minimise that screen and then Sherry Hofman: Yeah. Mariah Velasquez: have them both up at the same Sherry Hofman: It's Mariah Velasquez: time Sherry Hofman: okay. Mariah Velasquez: I think. Sherry Hofman: Okay. Um so first of all, the method that I used was by doing some marketing research, by um doing research on some interviews that were conducted. And then some internet research. And I was sent a report that was I think there were a hundred remote users that they interviewed. And so I will show you some of the results from that, which I think will be helpful. Um okay here are some of the findings. They said that the users dislike the look and feel of their current remote controls. And seventy five percent of the users find their remote controls to be ugly. Which is a fairly significant number I would say. And eighty percent of the users would be willing to spend more money if they could get a remote that would look fancy. So I think that earlier we were onto something when we were talking about having it be a modern cool look, I think that's definitely important. Um they say that current remote controls do not match well the operating behaviour of the user. Seventy five percent of users said they zap a lot. And if anyone could clarify what that means? Zap, Elizabeth Enriquez: Is Sherry Hofman: does Elizabeth Enriquez: is it Sherry Hofman: that Elizabeth Enriquez: j Sherry Hofman: just mean Jaime Bies: Just Sherry Hofman: like changing Elizabeth Enriquez: just Sherry Hofman: the Elizabeth Enriquez: just Sherry Hofman: channel? Elizabeth Enriquez: just using Jaime Bies: jus Elizabeth Enriquez: it yeah. Sherry Hofman: Okay. Jaime Bies: yeah. Sherry Hofman: Um and fifty percent of the users say that they're only using ten percent of the buttons on their remote control. And there was something else, they kept track of the frequency per hour in using certain buttons. And some of them it looks like barely need to be included at all. Of course channel selection is used the most frequently. And then teletext was the next. Volume and then power. And then audio settings and screen settings and channel settings were practically never used. So I think we could definitely eliminate or somehow combine a lot of the functions into one button. Um the biggest user frustrations, as we said fifty percent of people find that their remotes are lost somewhere, and so I think a tracking device of some sort would be a good idea. They said it take thirty four percent said it takes too much time to learn how to use a new remote. And twenty six percent said that the controls are bad for R_S_I_. Elizabeth Enriquez: A repetitive strain injury. Sherry Hofman: What is it? Elizabeth Enriquez: Just repetitive strain injury. I think. Sherry Hofman: Okay. Elizabeth Enriquez: That's what I guess. Sherry Hofman: Okay. And so bas okay. Um as far as speech recognition goes, um the younger group looks like they're all for it. From the fifteen to twenty five age group over ninety percent said they would pay more. And it kind of just went down incrementally. The groups at the older they get it looks like the less willing they are to pay, so maybe we could discuss this and think and decide if we think it's worth investing in this. At least if we're targeting the younger groups. And so in conclusion. Some things that I drew from this are that I think we were correct. We definitely need to focus on a new modern appearance, since so many people seem to be concerned about the ugliness of their remote control. Um a multifunctional remote could be a good thing to explore. So you only have one rather than five different remotes sitting all over your room. Uh we need to simplify the remote and reduce the number of buttons, get rid of the ones that don't seem to be serving much purpose. And then lastly I thought that maybe we could discuss the idea of speech recognition. And that's it. Mariah Velasquez: 'Kay. Very nice. Now we actually have some ideas of what what people want, what we should focus on. Uh Mariah Velasquez: Wait can I look at that real quick? Sherry Hofman: Oh yeah. Sorry did you guys get time to write everything Elizabeth Enriquez: Yeah. Sherry Hofman: that you needed? 'Kay. Elizabeth Enriquez: Having just listened to what Corinne just said, I'll draw on some of the things well. Some things that sort of what I wanna say. 'Kay so I'm just gonna yeah approach the technical functions design. Um the method I used was to explore the uh technical functions of a remote control. And t s simplest approach that I came to is is to change, programme and operate an electronic device remotely. I mean that's an obvious thing to say, but it's not attached to the device that you want to control. Um I had some things sent to Sherry Hofman. Not very much. To look at similar devices. Um defined in some them. And then the personal preferences that I will suggest. Um we discussed a universal one. Um like it's just been brought up again then. But I think a universal remote control is actually quite a difficult object to design, and po possibly within maybe the budget that we do it, um because you'd need to know all the spef specifications of a all the like electronic companies. I'm not sure have you ever come across a universal remote control yourself, but you have to i they're a nightmare to use. You have to set them, reset them to everything. Um and that would only add buttons. Whereas I think the aim is to take away buttons. So I think it'd be better maybe to concentrate on maybe just a universal one for T_V_s. Um or maybe just one that you could we could design and then different people, manufacturers could use it to set to their specifications, if if the aim is to get something that's unique in design. Um Okay here here's just two pictures of remote controls. They're just simple T_V_ remote controls. But one is uh user-centred. That is the one on the left. And you can straight away see there's less buttons. And the other one is engineer-centred where that's more uh specified for the sort of the elaborate piece of equipment it's trying to control um which appeals more to the product that we want, and on what the have said and the market research and stuff probably looking at something that should be user-centred. Fewer buttons, simpler to use, and if ten percent um is hidden away if ten percent is what's used, maybe the other fifty percent, the buttons that are used very rarely like programming, they could be hidden maybe under some remote controls you might have come across have maybe a little flip thi thing where they're hidden away. And the main buttons are the ones you or the ones you come across. Um and finally, um uh sort I've sort of covered that, our product I think should be user interface orientated. Um Like I said to concentrate on T_V_ remote control, a universal remote might be too complex. Um and as what it, the major findings market researchers have said, it's the image and the appearance that people di dislike. So that we should concentrate on something that would set a trend. And then and change the fashion of remote controls. And that's it. Jaime Bies: cable there. Thank you. Mariah Velasquez: What was your last conclusion on that one? Focus on uh Elizabeth Enriquez: On Mariah Velasquez: the i Elizabeth Enriquez: something on the image of it. Mariah Velasquez: the image Elizabeth Enriquez: Uh Mariah Velasquez: of it. Elizabeth Enriquez: the f the actual design. Mariah Velasquez: 'Kay. Good. Good. Jaime Bies: Okay. Gonna talk to you about the working design of the interiors basically which is what dictates the design the both the interface basically and the outer appearance because this is all the stuff that needs to go in there. Right. So unfortunately the people who were supposed to do this little presentation for Sherry Hofman obviously were too drunk to actually accomplish it, so um I'm going to do a the stuff on the board. Um just This is the basic basic premise of a remote control. Um the basic function is to send messages to another system. Okay so much is clear. An energy source feeds an integrated circuit, like a chip, that can compose messages. Often in the form of infrared bits. This is the most mostly used. Um there's uh also some sound systems but infrared is the better or the more more used system. Um parts are cheaper as well. A user interface controls the chip and accordingly the messages. This is where my people screwed up basically. So I'm going to explain that on the board rather. Um what we have is different components that obviously need to go in there. We'll start with an energy source. Right. Um which is usually a battery right? Since it's not feasible to add a cable to that. This energy source of course is connected to the the user interface itself. Uh which can be buttons, whatever, which in fact controls a chip. Right? This is the user interface and there we have the chip. Um the way this goes normally is that this chip then controls an infrared lamp. That sends out the signal. Of course the signal differs accordingly. Um depending on what the chip tells the infrared lan lamp. And Of course that's controlled, the chip itself is controlled by the user interface. The way you normally normally do it is that you add a little device such as a lamp to the whole thing as well, so that you know that it's working basically. You press something, you get a response. Which is also comparatively um important on one of those devices. Now this, what we're talking about here, or what I think should be discussed are these two components mostly. The the uh energy source for one thing can be altered. What we probably cannot alter is of course the infrared, the sending device basically, the infrared lamp. We cannot change the chip which controls the infrared lamp. Right? These two are components that we have to use, and these are dictated by the whole function of the whole thing. Um the lamp can be put onto the desi the device. It c it doesn't have to be there. This can be discussed as well. The user interface. That's something we can also discuss. Um as we've heard uh speech recognition is the hype obviously in the moment. Speech recognition um interface, we don't know that. Or if we just do the usual button thing. Or we have a touch pad or something like that that's something we can discuss. And of course the energy source. Batteries. Solar cells. Who knows? Of course it's always a question whether these these components are in fact available cheap enough, developed enough. But that's like I s I suppose rather up to marketing, and not to Mariah Velasquez: So we could Jaime Bies: to the industrial design Mariah Velasquez: the the Jaime Bies: department. Mariah Velasquez: the more complex we make it of course, the more Jaime Bies: Expensive Mariah Velasquez: expensive Jaime Bies: it's gonna be get uh. Yeah. Mariah Velasquez: But people have said that they would well younger generations of people have said that they would pay more for a speech recognition Sherry Hofman: Mm-hmm. Mariah Velasquez: remote. So Jaime Bies: Right. Mariah Velasquez: possibly it might be worth the investment. Elizabeth Enriquez: I think speech recognition was uh one of those things where um they have to be really good for them to work. 'Cause sometimes you find yourself just saying things over and o Sherry Hofman: Yeah. Elizabeth Enriquez: if it's on your phone. Mariah Velasquez: I agree. Elizabeth Enriquez: And Mariah Velasquez: Well Elizabeth Enriquez: you need to sort of take into light languages and then different dialects I suppose as well. Mariah Velasquez: I myself I find, when you, h when there's something like spee speech recognition. Like uh you call on the phone and you try to change your telephone or power or something. Sometimes they have a a speech recognition Elizabeth Enriquez: Yeah. Mariah Velasquez: on the other end, and you say one for this, and you find yours, like you said, saying the same thing over and over and over. I find myself, especially if I'm in a crowd of people, looking really silly. Elizabeth Enriquez: Yeah. Mariah Velasquez: So maybe if you're sitting on your couch with a bunch of people then Elizabeth Enriquez: And Mariah Velasquez: you Elizabeth Enriquez: wou Mariah Velasquez: know, Elizabeth Enriquez: I Mariah Velasquez: you Elizabeth Enriquez: don't know if would would you want to keep saying stuff if you were watching stuff. If you were watching something would you sort of be wanting Mariah Velasquez: Volume up. Volume Elizabeth Enriquez: Yeah. Mariah Velasquez: down. Change the channel, you know channel up, channel down? I I don't know. Sherry Hofman: Another thing about these figures is ninety one percent of the youngest age groups said they'd do it, but probably a lot of them that's actually their parents money. Like I don't know if they would actually go out and purchase this themselves, Elizabeth Enriquez: I think Sherry Hofman: a fifteen year old you know. Elizabeth Enriquez: As well it'd be j the gimmick factor Mariah Velasquez: Mm-hmm. Sherry Hofman: Yeah. Elizabeth Enriquez: for the younger people. But practically I don't Mariah Velasquez: It's Elizabeth Enriquez: think it's Mariah Velasquez: a, it's a gimmick factor that they like at first, and Elizabeth Enriquez: Yeah. It'll wear off. Sherry Hofman: Gets old yeah. Mariah Velasquez: Okay. Um Let's see here. Elizabeth Enriquez: Do you wanna put your cord back in? Mariah Velasquez: Yeah I guess so. Jaime Bies: Oh right. Mariah Velasquez: Trade you. Jaime Bies: go. Mariah Velasquez: Now I was sent a couple of things to modify our uh new requirements. Um the remote's only gonna be for the television, which is good because we already decided y your your research showed that uh not only is a universal remote more complicated, it's more cost, more costly. And your re uh research showed that you know most of the people don't even use it. I think Sherry Hofman: Mm. Mariah Velasquez: uh you said fifty percent of the people only use half the or ten percent of the buttons. So if we remove the universal remote then that solves that problem. Um no teletext. Um So we don't have to worry about that. Um but we do have to use the the company wants us to incorporate the corporate colour and our slogan, which is we put the fashion in electronics. And our corporate colours are grey and yellow. And we could probably get away with black too but So those are the three um the three new requirements we need to use. Um from all all three of your uh presentations, I think that we were on the right track a lot in our last meeting. Um We want something that looks good. Um we want something that's simple. We want something that you can find easily. Um And the speech recognition I I guess is kind of uh give or take. It's gonna cost more. S Jaime Bies: Mm-hmm. Mariah Velasquez: the young the younger people say that they like it. But um it's probably, I would say, probably not worth the investment at this point in time. So maybe we should just do away with speech recognition. Um And that way we can focus on our form. Elizabeth Enriquez: I did have have a thought about the sort of the tracking thing. Is that if it came with maybe a holder or holster, whatever you wanna call it. Um that you you should put it back in. Your remote. But if you don't put it back in, you press something like a little button on that, and that just sort of sends out a beep to find where it is or something. Just by infrared. That shouldn't be too complex I would've thought. Mariah Velasquez: That'd be, that'd be good if we were going with our our ball. Elizabeth Enriquez: Yeah it would be quite good. The ball Mariah Velasquez: Or or Elizabeth Enriquez: could sit Mariah Velasquez: with Elizabeth Enriquez: on a Mariah Velasquez: you know I guess Sherry Hofman: Mm. Mariah Velasquez: with any form that that would be good. You know that could be the charger. For Elizabeth Enriquez: Yeah. Mariah Velasquez: you know we could use rechargeable batteries in the remote. And that would be or solar. Or you know However, however you wanted to go about it, the holder could also be the charging unit. Elizabeth Enriquez: Yeah. Mariah Velasquez: Um With the locator button. Um and if it were the ball you'd no longer have to have a flat space on it. Elizabeth Enriquez: Yeah. Mariah Velasquez: Um Jaime Bies: Well you still Mariah Velasquez: like Jaime Bies: do. Mariah Velasquez: if we still have the Jaime Bies: You s you still Mariah Velasquez: how to hold on to it and Jaime Bies: W yeah. You put it on t on the couch table. While you're watching, Sherry Hofman: Rolls Jaime Bies: it's Mariah Velasquez: It's Jaime Bies: gonna Sherry Hofman: away Mariah Velasquez: gonna Jaime Bies: roll Mariah Velasquez: roll Jaime Bies: off. Mariah Velasquez: away. Sherry Hofman: yeah. Jaime Bies: So that's not an issue really. Mariah Velasquez: Um So I guess after the meeting we'll have some questionnaires. And uh and some summaries for for what's going on. Um then we'll take lunch. Then we can come back and uh work on our individual work. Um I'll do the minutes. Uh let's see. It looks like you're already on your way for uh working with the components. Um chips, the what chips we need and what uh you know how to power it and whatnot. User interface concept, we want it to be something simple. Elizabeth Enriquez: Yeah. Mariah Velasquez: Um Minimal number of buttons. I guess our, I guess our main um main thing that we should focus on until then is probably deciding on a certain look, you know. Elizabeth Enriquez: Yeah. Jaime Bies: Right. That's Mariah Velasquez: Did you have time earlier to to work on that. Did you guys feel you have enough time in between our meetings to get Sherry Hofman: Not Mariah Velasquez: everything Sherry Hofman: really. Mariah Velasquez: done that you need to get done? Elizabeth Enriquez: I'll yeah I'll have a look, try look at the actual appearance in the next break. Mariah Velasquez: 'Kay. Elizabeth Enriquez: I th I I do still think it needs to be something that is ultimately one-handed. The ball Sherry Hofman: Mm. Elizabeth Enriquez: is probably not a good idea. Mariah Velasquez: Mm-hmm. Elizabeth Enriquez: So that I think it still has to be a variation. On maybe a a rect on a rectangle but maybe not necessarily as boring, as Sherry Hofman: Mm. Elizabeth Enriquez: plain as a rectangle. Mariah Velasquez: Um Shall we maybe shoot for a a specific uh target group? That way we could l I mean if it were, if we were shooting for young guys then it's um a certain look to the remote. Or girls or older people? Um Would that you think that would help us find um a specific form? That we would would wanna pick out? Elizabeth Enriquez: D I don't know if that might cope with like the trend-watching. Sherry Hofman: Mm. Elizabeth Enriquez: I find anything more on that. Sherry Hofman: Yeah not yet but maybe by the next meeting we'll have some info on that. Mariah Velasquez: 'Kay. Mariah Velasquez: So um we know that the remote's gonna have to be we'll just say we've got a colour scheme for it. Elizabeth Enriquez: Yeah. Mariah Velasquez: Um yellow and you know yellow it's nice and bright, with the Jaime Bies: Mm. Mariah Velasquez: buttons being grey or black. And our slogan pasted somewhere on it, on the the bottom Elizabeth Enriquez: Bottom perhaps Mariah Velasquez: or the Elizabeth Enriquez: yeah. Mariah Velasquez: you know. Um Mariah Velasquez: Maybe we could sketch a so basically all of our remotes all of our typical remotes now are just kind of a rectangular sort. You know. Um maybe we could flare it or something. You know. So it's more of course this will look like a bone then. go ahead and erase this. Um Mariah Velasquez: Hope everyone memorised that uh Elizabeth Enriquez: You I mean it might be to look at sort of the the shape and trend of like things like mobile phones, and the shapes that the they've been going. Mariah Velasquez: Yeah. Sherry Hofman: Mm. Mariah Velasquez: Yeah. Elizabeth Enriquez: They've gone from big brick block things, which is a remote control is, to sort of slinky small things. Mariah Velasquez: Yeah everybody's got a mobile phone right? Except for Sherry Hofman now. Uh But they are all, you know, mobile phones um they've kind of taken a turn to where they're really small. Elizabeth Enriquez: Yeah. Mariah Velasquez: Um which may defeat our purpose for Sherry Hofman: Mm. Mariah Velasquez: being able to locate our remote all the time. Jaime Bies: Right. Mariah Velasquez: But then again you don't want you know like the first mobile phone that was this big and you had a handbag to carry it around in. Um So we've got basically what remotes look like now is kind of what we're what we're stuck with. Um Maybe we could go with a square or something. Um Jaime Bies: Hm. Mariah Velasquez: Um you know with minimal number of buttons. I guess you've got you know one through nine. For typing in your channels. Uh you've got volume, up and down. Channel up and down. Sherry Hofman: Power. Mariah Velasquez: Power. Usually at the top. Um a mute. Jaime Bies: That's the classical Mariah Velasquez: That's Jaime Bies: design. Mariah Velasquez: that's pretty much all you need I think. Um A menu button, maybe. Jaime Bies: Right. Mariah Velasquez: So you know. If you, if we want the remote to do other things like um or I guess the T_V_ to be able to change the tint and the colour and you know all those kind of things that are built into T_V_s, we just have that under one standard menu button where you go in, press the menu button, scroll up and down to select it. Sherry Hofman: Yeah. Jaime Bies: Yeah. Mariah Velasquez: Um Jaime Bies: Talking of which maybe a scrolling function is not not too bad. Mariah Velasquez: 'Kay so Jaime Bies: It's Talk Mariah Velasquez: Um Jaime Bies: about maybe f look at that from the side, there maybe. Which is technically the easiest option. Would probably be like a scrolling, little scrolling wheel like this. Mariah Velasquez: Mm-hmm. Jaime Bies: Yeah. Yeah. Yeah. Mariah Velasquez: Like a wheel Jaime Bies: So. Mariah Velasquez: on your mouse. Jaime Bies: Yeah, sort of like that. Mariah Velasquez: Sort of. Jaime Bies: You can even if we're coming from mice, we can even add a click function, where you, in order to verify the information you just press it down. Right. Mariah Velasquez: 'S a good idea. Jaime Bies: Also when it comes to the ergonomics of the whole thing, if you wanna make it square for the looks of it, then maybe to make it more comfortable to hold the whole thing, you add a little bulge down here. Just which maybe from an engineering point this could be holding the the batteries and so on. Mariah Velasquez: Mm-hmm. Jaime Bies: I know. You know what Mariah Velasquez: Look Jaime Bies: I'm getting Mariah Velasquez: g Jaime Bies: at here, Mariah Velasquez: yeah. Jaime Bies: fel Sherry Hofman: Mm-hmm. Mariah Velasquez: Looks Jaime Bies: look Mariah Velasquez: good. Jaime Bies: at it from the side. It's like that. Right. Uh Then you hold it in your hand like this. And Elizabeth Enriquez: Yes Jaime Bies: maybe you bring the buttons Elizabeth Enriquez: s Jaime Bies: nearer to the or the imp more important buttons nearer to the Mariah Velasquez: To the Jaime Bies: to Mariah Velasquez: thumb. Jaime Bies: the side. Elizabeth Enriquez: To Mariah Velasquez: Yeah. Elizabeth Enriquez: the thumb Jaime Bies: Right. Elizabeth Enriquez: yeah. Jaime Bies: Mm. Elizabeth Enriquez: Maybe the buttons could like uh decrease in s the bigger ones you know they could actually be bigger in size than the ones that are less important, the smaller here. Jaime Bies: Right. You can also have it, maybe, talking about mobile phones again, sliding open. Elizabeth Enriquez: Yeah. Jaime Bies: functions Elizabeth Enriquez: Behind. Jaime Bies: on this part, and Elizabeth Enriquez: Definitely. Jaime Bies: then it slides into that part. And out. Elizabeth Enriquez: just like o on a sort of side view. Something that you know it would sort of fit in the hand better. So you know you just sort of have your hand Jaime Bies: Mm well I was just thinking, this Elizabeth Enriquez: Yeah. Jaime Bies: this of course Elizabeth Enriquez: Right on Jaime Bies: causes Elizabeth Enriquez: the and your thumb would be up here type thing. Jaime Bies: causes a problem um for left or right-handed people actually. Elizabeth Enriquez: Yeah that's also true. Jaime Bies: So. Elizabeth Enriquez: instantly sort of always going for the right-handed person. Jaime Bies: Right. Elizabeth Enriquez: But I mean the older so Mariah Velasquez: Yeah is everyone who in here's right-handed, left-handed? Sherry Hofman: Right. Mariah Velasquez: You guys Jaime Bies: Right. Mariah Velasquez: all right-handed? Elizabeth Enriquez: Right-handed, yeah. Mariah Velasquez: Yeah. So I'm left-handed but Sherry Hofman: Uh-huh. Mariah Velasquez: I, so I can say that most things are designed for right-handed people. Jaime Bies: That's right. Mariah Velasquez: Like the written language. Or English. Sherry Hofman: Maybe you could buy like a special left-handed version of the remote. Mariah Velasquez: Maybe. Ow. Sherry Hofman: Special order. Mariah Velasquez: I would say I mean it should be probably designed for a right-handed p person. Sherry Hofman: Yeah. Mariah Velasquez: Um but that's that's good. That's w I think we've got a kind of a good plan there. Um At least for what buttons we're gonna use. Um So we've got uh I like the scroll, the scroll action and the. Elizabeth Enriquez: I mean I'm just just thinking maybe if it was um circular um with the sort of that sort of the sort of early idea we had, with the way that was more like that, whereas this is just a one-handed thing that you sort of almost wrap round the thumb. So you'd have your, you'd put your hand into there with the thumb there. And then your thumb would do you'd have all the buttons sort of round here. And that I think could work. Mariah Velasquez: Yeah. Elizabeth Enriquez: On any hand. Mariah Velasquez: Kinda like holding a Elizabeth Enriquez: If you just had it like wrapped round there. Left or right. Sherry Hofman: Mm. Jaime Bies: Right. That minimises it size-wise Elizabeth Enriquez: Minimise Jaime Bies: as well. Elizabeth Enriquez: its size. It could be you know really quite Jaime Bies: Mm. Elizabeth Enriquez: small. Jaime Bies: Then there's maybe another point of making it a two-in-one kind of thing. If we have a smaller a smaller device that actually fits into the big one. You give it the full functions in here, and just a couple of functions in there. Elizabeth Enriquez: Yeah. Sherry Hofman: Hmm. Jaime Bies: Like your zap zapping Elizabeth Enriquez: Zapping Jaime Bies: device Elizabeth Enriquez: functions. Jaime Bies: is just u channels up-down, uh volume, and on-off. That's it. Sherry Hofman: Could Mariah Velasquez: Yeah. Sherry Hofman: be good. Jaime Bies: Maybe. Mariah Velasquez: So two remotes in one. But then would be easier to lose one or the other. Jaime Bies: That's right. Means the big one has to be sufficiently big. And perhaps heavy, so you can't move it around. Make it a piece of furniture. Sherry Hofman: Yeah, Mariah Velasquez: It actually is your coffee table. Jaime Bies: yes. Sherry Hofman: yeah. Jaime Bies: Yes, there you go. Or a statue or something. Mariah Velasquez: Okay. Well we need to finish up here. Um So for the next So for the next um before the next meeting w uh sh shall we work on you're watching trends Sherry Hofman: Mm-hmm. Mariah Velasquez: to see what Elizabeth Enriquez: Yep. Mariah Velasquez: what kind of new information we've got going on. Um Manuel you're going to work on the components Jaime Bies: Right. Mariah Velasquez: for for what we're gonna use. Let's go with our our uh rounded kind of fit in your hand let's explore uh the the uh possibility of having the two-piece. So one for the Jaime Bies: Alright. Mariah Velasquez: the quick zapping um and possibly one you know with just that rounded part Elizabeth Enriquez: Yeah. Mariah Velasquez: that fits into your hand. Um And Ryan you work on um how how well they'll work Elizabeth Enriquez: How Mariah Velasquez: with Elizabeth Enriquez: well it'll Mariah Velasquez: the us Elizabeth Enriquez: work yeah. Mariah Velasquez: with the user. So both of those concepts. And uh okay I think we made some good progress here. Jaime Bies: Alright. Mariah Velasquez: see you in I dunno. I gu I guess we'll take lunch in about uh half an hour. Or I guess we'll be taking lunch shortly and then then in about half an hour after that we'll probably have another meeting. Elizabeth Enriquez: Yeah. Jaime Bies: Alright. Mariah Velasquez: Okay.

Mariah Velasquez recapped the events and decisions of the previous meeting. Sherry Hofman presented research on user preferences and tendencies with remote controls. The research indicated that users want remotes to be more attractive, to match the behavior of the user, to be easier to locate when misplaced, and not to cause RSI. The research also indicated that younger users were interested speech recognition. Elizabeth Enriquez spoke on the option to have a universal remote, presented two differently designed remotes available on the market, and described some features a user-centered remote should include. Jaime Bies discussed the interior workings of a remote and then the team discussed the option to include speech recognition in their design. Mariah Velasquez briefed the team on some new requirements to abide by. The team then discussed the option to include a recharger with a locater button in their design, the appearance of their remote, buttons, how to make an ergonomic remote, and the option to have a two-piece remote.

amisum

train

Madeline Stone: Okay. Madeline Stone: Right. Okay. Madeline Stone: Alright. everyone? Erica Mattern: Yep. Grace Thomas: Yep. Madeline Stone: Okay. This is our conceptual design meeting. And I'll just take a few minutes and uh go through the previous minutes. Um then each of you will have your presentation, um and then we will need to make a decision on the concept for the remote control. And then we'll have uh forty minutes for finishing up. Um I'll go through the mee through the minutes first. Um, we just refreshed our our goal making the finest remote control available. Um we decided that, or we know that we need to use company colours, company logo. Um and our Marketing Expert uh gave us some i uh information from interviews with a hundred different remote users. Um with some statistics that backed basically what we were thinking before. People thought their remotes were ugly, um um that remotes zap a lot. Um they only use uh a finite amount of buttons. Um and that they often lose the it's easy to lose a remote. Um which were all things we were thinking we would wanna make it simple. Um And uh some sort of locator. Either a button or tracking device. Um And that it should look different than what's out there. Um Kind of mixed mixed response on the speech recognition. The younger people said they wanted it, older people did not. Um uh I think we decided that um the expense was not necessarily worth it, and that it was probably a gimmick, that um would increasingly wear on the consumers' nerves. Um Then Grace Thomas um explored some of the technical functions of the remote. Um the simple versus the um the complex. The simple one being better for a user, the complex better for an engineer. Um Um and some personal preferences that were found in that would be that it should be a user-oriented remote, something simple. Um and that we didn't wanna go with a universal remote, because uh increasing cost and increasing complexity. Um we would just have a T_V_ remote. Um and that we should also focus on the appearance of the remote. Have it s be something that looks different. And finally our um Industrial Designer uh gave us a rundown of how the remote will work. Um from energy source, um uh what we would use. Batteries because we don't wanna have a a cable. Um How that would power the remote and the lamp. If we were to to have one. Uh um the user interface then would connect to a chip, which would work with the infrared controls uh to send the signal to the T_V_. Um I believe then we came up with a couple of ideas for what we think the design of the remote will be. Um Um something that will fit into uh easily into someone's hand. And with a, just a few buttons. Just the basics. And with a scrolling um function also. Okay and I will leave that, leave it at that. So Marketing? Erica Mattern: Okay. Madeline Stone: We're watching trends. Erica Mattern: Can I have your Madeline Stone: I suppose Erica Mattern: cable Madeline Stone: that you can Erica Mattern: please? Madeline Stone: have this. Erica Mattern: Thanks. Erica Mattern: Okay so I was looking at trend-watching. Um unfortunately I wasn't given too much information. I was given a brief executive summary, and then an update on some recent fashion trends that we might like to look at. And then I'll just tell you some personal preferences that I got from that. Um okay the Erica Mattern: functional look-and-feel design, which I think we've kind of already discussed before. Um the second most important finding was that the remote should be technologically innovative. And again these are all things we've kind of already come up with on our own, but this just backs it up. And thirdly the remote would be easy to use. As far as fashion update, we've learned that fruits and vegetables will be the most important theme for cloths, shoes and furniture. So that might be a bit of a challenge to incorporate this into our remote, but we can try. Um and also, as opposed to last year, this year the material is expected to be spongy in feel. Okay so from that um, as we've already said, we need to focus on a fancy look-and-feel. Um I think we've already discovered that it's kind of hard to go away from the traditional rectangular design. But I think that, even if it's very subtle, we need to kind of trick our consumers, so they at least get the idea that they're getting something that's new and modern and sleek and Whether it's through the shape or the colours or all of that. Um for technologically innovative, we've talked about the tracking device. We brought up the idea of having two pieces, which we could discuss further. And Manuel had suggested um the energy source and the user interface, discussing some of those, um that we could change a little bit. We need to keep it simple, have limited buttons, which I think the two piece idea might be really beneficial for. Um we need to incorporate this fashion trend of fruits and vegetables. I don't know, I mean I guess the two options are if we had our remote in the shape of a fruit or vegetable. Grace Thomas: Oh it was sort of banana shaped. Erica Mattern: Yeah. Madeline Stone: A banana shape? Erica Mattern: Yeah. Right. Or with exterior designs. But my question is, I mean the stereotypically speaking, you kind of picture males with their remote controls, and I'm not sure how they'd feel about having fruity logos on the outside. So maybe we could have something that's somewhat removable, or I don't know, different options for female, male target groups. And then the spongy feel. I guess we could look at mobile phones and other technology that's out there. C and look at different types of material that might please our users who want spongy-feeling remote controls. So that's that. Madeline Stone: So possibly Cheryl Neal: Alright. Madeline Stone: like a uh, sorry, just to butt in for a second. Possibly uh like a cover like they have for mobile phones? Erica Mattern: That's what I was thinking Grace Thomas: Those like, Erica Mattern: yeah. Grace Thomas: yeah, sort of spongy Madeline Stone: You have one Grace Thomas: ones. Madeline Stone: with a flag, and one with a banana and one that's a spongy Erica Mattern: Yeah. So Madeline Stone: feel to it. Erica Mattern: when you buy your remote you can buy Madeline Stone: You can Erica Mattern: various coverings. Madeline Stone: Mm various Grace Thomas: What's it called? Madeline Stone: covers. Grace Thomas: Cust you Erica Mattern: Personalise Grace Thomas: personalised, Erica Mattern: your remote. Grace Thomas: yeah. Madeline Stone: We could leave that to the cover department. Grace Thomas: Yeah. Erica Mattern: Mm-hmm. Madeline Stone: We all know they've got nothing to do all day. Grace Thomas: Okay. Why can't I see the crazy. Um yeah I talking about the interface concept and how the customer relates to, will use the, consumer will use the actual device. Um so I've looked at some of the stuff I was sent, um, try and get some inspiration. But keep in mind ideas that we had. Um I was sent some information from the company saying that they, the technology department have devised a new speech recognition technology, where you can program questions into such devices. They gave an example of a coffee machine where you program a question, you program the answer, and the machine responds accordingly. Um okay. There's different ways of a user can use products l like a remote. Um there's a graphical use, where you you look at pictures and well on a screen. A command line where you obviously type things in, and you get a response. Um and then it ju that's just to point out the sort of inconsistent u sort of use of interface in remotes. You can't really see that picture well, but there's various different remotes, once again with lots of different buttons on, making it more complicated. So, then I had a look at new products that are on the market. Not necessarily remote controls but ones that you'll recognise. Um this is the voice, there is a voice recognition remote control, which can control mus multiple devices. I have a there is a picture. You surf your favourite channels uh with your voice. Store up to eighty speech samples, controls four devices, T_V_, cable, satellite, V_C_R_, D_V_D_ and audio. And you can record your own v verbal labels, that are connected to remote control functions. So the technology is there. Um the one on the left is very similar to what we drew up on the board in the previous meeting, where there has scroll down functions on the side. You can sort of just make those out. And then on the right is obviously an iPod, which is you know possibly one of the simplest things to use out there, and really is, and all that is is just a a nice big scroll menu that y you sort of go through. That is a possibility. And nothing's simpler really. Um then there's things like this, which is a a a kid's remote, where the the parents have the facility to control and program what children can watch before. So the remote control it o only allows them to access the channels that their parents want them to watch. And um it means that th children have a novelty of having their own remote control. So I don't know if there's a possibility of having one remote contr you know like we just had two components, maybe it can have more components you know, different remotes. Um the point made at the end there here is that you have to be sort of be need to be clear on your um devices, as to what, you know, things you use. Sometimes an arrow pointing down, which may suggest volume down, could become confused just as a V_ for volume. Just little things like that, which would need to be made clear in the design. Um I think, d carrying on from what I've already said, a user friendly remote with minimum buttons. Maybe we've so suggested this two-part thing, where if it was to have a speech recognition thing, you could maybe control that on the do it or program all that on the control bit. And then just have the simple sort of hand-held thing that we sort of devised earlier, as the actual remote. Um I don't it could be a graphical display, the actual remote contr the actual control port maybe could have like an iPod where you just sort of control through the menus. Stuff like gets more and more compli complicated. And then the the hand-held bit should be ergonomically designed. And that is it. Why am I Oh yeah. Just. Where are we? Uh. Just to sort of show you. M they've even got things like that. Huge things. Which is just for your gr ninety year old grandma yeah? Cheryl Neal: That's industrial design Grace Thomas: Yeah. Cheryl Neal: for cranes, stuff like Grace Thomas: Yeah. Cheryl Neal: that. Erica Mattern: Dunno. Grace Thomas: And Cheryl Neal: Makes Grace Thomas: that Cheryl Neal: sense, Grace Thomas: yeah. Madeline Stone: Notice Cheryl Neal: makes Madeline Stone: the Cheryl Neal: sense. Madeline Stone: giant dog bone shape? Also Grace Thomas: Yeah. Madeline Stone: good for Grace Thomas: See. Madeline Stone: animals. Grace Thomas: things. Grace Thomas: Why's my screen Cheryl Neal: Uh Grace Thomas: crazy? Cheryl Neal: Well let's see. I'm going to bore you with a couple of descriptions of the interior. Just to to make it more obvious what we have to fit in there, and that we do have to fit the stuff in there. I've more information on possible materials um as well. What we can and cannot do. Um but let's just wait for this to up and I'll show you what we're talking about here. Okay. The details of the components' design, as you can see there, what we have is the board, main board of the remote control. The underside, that's pretty cheap piece of of technology really top left side you can see the chip, which is the, what we were talking about, this was is the device to recognise the signals the input, and it passes it on to a row of um further transistors and stuff like that on the right side that actually amplify the signal, which later on is being, is being transferred to a infrared lamp which then um of course shines infrared light onto the television which then will recognise what signal um it's getting and will do what you tell it. Um So much for the the workings of the of the uh remote control itself. Its job is to wait for you to press a key, then to translate that key press into infrared light signals, um that are received by the television. When you press a key um you complete a specific connection. The chip senses the connection and knows what button you pressed. It produces a morse code line signal specific to that button. Right. Pretty clear. Transistor amplifies the signal and then sends the m sends the signal to the L_E_D_ which translates the signal into infrared light. The sensor in the T_V_ can see the infrared light, and seeing the signal reacts appropriately. This is the circuit board from the other side. Um the lower part of it, I don't know if you can see that properly, with the green greenish board is is what we what we saw in the first the first slide just flipped over. Um you can see the circuit board itself. That's the cheapest uh way to make electronic connections basically on the market. Um what you do is you have, don't have cables, but you have the connections actually in these in these lines on the on the board. These are the actual keys that are being pressed. They close the electric circuit. That then sends the signal to the chip on the other side. That would be behind here. Um which uh sends it over to the transistors and all that stuff that amplify the signal and all that is being sent to the infrared lamp up there. Now as you can see this is the the rubber button version of it. Um the way it works is that you have the keys here. The rubber button has a little metal uh plate on the other side, which closes the circuit here. And thus gives on the signal. Now this is the simple version. Um we are talking um this this the simple and cheapest version at the same time. We are talking something more complicated of course, it's going to be more expensive as well. And not only that. Um we are also restricted in the use of our outer shell, or in the material that we could use for our outer shell. Um I've gotten some information that we could use for the case material plastic, rubber, as well. Um rubber that is used in these anti-stress balls. So it's pretty squishy. That would Erica Mattern: Spongy? Cheryl Neal: that would serve that purpose. Um we could also use wood, or titanium. Madeline Stone: What's the approximate per hundred thousand for the titanium? Cheryl Neal: Oh fya I don't have an information on that. However our company obviously can provide us with uh with the titanium, so I assume, I'm, I was given an okay to use it. It certainly is an expensive material, I'm aware of that, but I was given an okay. But there are certain restrictions to certain materials. Now let's first go through the list with the materials. So we what we can use is plastic, rubber, wood and titanium. Can also mix these. Um as for the energy source, um we were talking about that shortly in the other meeting. Um what we could use is, or what I was offered, or what we could use, is a basic bateer battery. Right? Uh a dynamo. Interestingly enough. Um we could use solar cells. Or a device that was not n not further specified that provides kinetic energy. Such as like watches you know. Where you just move them m move the the actual device and this pr uh provides it with with uh some energy. So um obviously I personally have to say that dynamo is Grace Thomas: Mm. Cheryl Neal: out of the question really. You don't wanna wind up your remote control before you can use it right? Um solar cell is interesting. May fail though, every here and there. Grace Thomas: Would you have to leave it by the window? Cheryl Neal: Mm. Grace Thomas: yeah. Cheryl Neal: Yeah couch Grace Thomas: Yeah. Cheryl Neal: for a week and yeah mm. Always Madeline Stone: Works Cheryl Neal: the Madeline Stone: well in Arizona Cheryl Neal: you Madeline Stone: but in Cheryl Neal: But Madeline Stone: Edinburgh Erica Mattern: Y probably Cheryl Neal: exactly. Grace Thomas: Yeah. Erica Mattern: not Madeline Stone: not Erica Mattern: yeah. Madeline Stone: so Cheryl Neal: Um the kinetic energy thing um might work, um but the same problem. You leave it lying around and you first have to shake it before it it starts to work. So I'd say what we're stuck with really is um the basic battery. Which also makes a base station basically obsolete. We don't need that then. Um However our interface options are push-buttons. In which uh in the production of which or in manufacture of which um our company is expert. Um However we've discussed that scroll wheels are a better option. And they are possible. We have an okay for scroll wheels. Okay. Um however when it comes to the scroll wheel of the iPod I've one big objection and that is that we have to fit an L_C_D_ into the remote control as well. This however may exclude certain um materials. If you have a squishy uh kind of remote control, then an L_C_D_ screen may be affected by the movement. Hence we might not be able to put it in there. So um There's also restrictions to, when it comes to the chip. If we have a more sophistic uh sophisticated scroll wheel rather than this very basic uh set-up that we that I've just presented, um the chip has to be more s more sophisticated and thus more expensive as well. I don't have any details to, when it comes to the cost but um it will be a significant difference. I'd rather say drop the titanium and therefore let's have a more sophisticated chip, but that's not up to Erica Mattern to decide really. So that's for the for the scroll wheel. Um it limits our choice and squishy is hip, so I'd say rather not go for for that. Let's see now. Um um solar cells cannot be used on a curved or latex um surface or um remote control. But obviously that's not our problem um since we have decided or against solar cells, I assume right? Erica Mattern: Mm. Cheryl Neal: Or is Grace Thomas: Yeah. Cheryl Neal: anybody still Madeline Stone: No Cheryl Neal: alright. Madeline Stone: I think Erica Mattern: No. Madeline Stone: I Erica Mattern: Hmm. Madeline Stone: think batteries are probably the way to go. Cheryl Neal: Alright. Grace Thomas: Yeah. Cheryl Neal: Uh which makes it very conventional but therefore traditional I assume. Um Um With the titanium um we cannot make it a curved design. We would just be able to make it flat and and um yeah a straight design pretty much. Which I assume would exclude uh some of the more sophisticated versions. Grace Thomas: Would the sort of spongy and the the plasticky thing y you can get those mobile phones that initially have a it is plastic but then they have sort of Erica Mattern: Mm. Grace Thomas: a a Erica Mattern: Like Grace Thomas: s Erica Mattern: a covering. Grace Thomas: a cover on it Erica Mattern: Yeah. Grace Thomas: which is just sort of soft and stuff. So I don't know if that would still be possible to have you know in plastic. But then where do people hold it? Just Madeline Stone: Yeah. Grace Thomas: all be sort of spongy. Erica Mattern: The we can have the fruits and vegetables on the spongy parts, so they can remove it. Grace Thomas: So you Like the Cheryl Neal: You Grace Thomas: iPod? Cheryl Neal: can have an L_C_D_ screen. Um but therefore no rubber will be used. Grace Thomas: Right. Cheryl Neal: Alright? So plastic yes, titanium yes, but this will of course influence the form. With plastic, as I understand it, you can use any form. Um latex is tricky. Or rubber and um and titanium also seems to be tricky when it comes to the form. So the way to go is if you want a scroll wheel you either make it flat and angular, uh add an L_C_D_ screen, and um then you can basically choose either plastic or titanium. Grace Thomas: Yeah. Cheryl Neal: Or wood even. Um if you wanna make it a particular shape, use plastic. Add Grace Thomas: Yeah. Cheryl Neal: an L_C_D_ screen, add a scroll wheel, that'll be fine. Or make it just push-buttons. Basically plastic gives you the b biggest variety of of options. Maybe not the nicest feel. Or not much Madeline Stone: So Cheryl Neal: originality Madeline Stone: the ru Cheryl Neal: really. Madeline Stone: wait the rubbery we can shape it however we want? Or the rubbery we cannot? Cheryl Neal: With rubber we could uh sh pretty much shape it the way we wanted Madeline Stone: 'Kay. Cheryl Neal: it, but we cannot add scroll wheels, and we cannot Madeline Stone: Mm. Cheryl Neal: add an L_C_D_ screen. Erica Mattern: Mm. Madeline Stone: Mm. Cheryl Neal: That's the tricky thing. Grace Thomas: Could we not you know have a shape with a scroll and the screen, and then j just sort of that initial shape we had, just which is uh sort of banana-esque. So that's thing if we did it yellow. Madeline Stone: Yeah. Grace Thomas: And um you know you just p stick on just sort of rubber things that that sort of grip the thumb bit. They wouldn't have any they're just on the exterior. They wouldn't be necessary to the actual shape of the thing. Madeline Stone: Is that an option, a plastic shell with a rubbery coating on at Cheryl Neal: S Madeline Stone: certain spots? Cheryl Neal: Certainly can be done yes. Um yeah. if that doesn't affect Grace Thomas: Yeah. Cheryl Neal: the functional side of it all. Like say just the underside or so then it can be done. I assume. Yeah. Cheryl Neal: So The fruit design um How about um affecting the surface of the actual um remote control? Say we don't make it p a particular fruit shape Erica Mattern: Mm. Cheryl Neal: obviously, but uh give it like the surface of an orange, banana, whatever. You name it. Grace Thomas: Mm. Madeline Stone: What Cheryl Neal: Just Madeline Stone: about a Cheryl Neal: design-wise. Madeline Stone: smell? T to the remote? Cheryl Neal: Mm. Nice one. Grace Thomas: You could just sell it in different colours as well I suppose. In different Erica Mattern: Bright Grace Thomas: ye Erica Mattern: citrus Grace Thomas: yellows. Erica Mattern: colours yeah. Cheryl Neal: Mm. Grace Thomas: I don't suppose we have to stick to Cheryl Neal: Well Grace Thomas: co Cheryl Neal: we we're supposed to stick Grace Thomas: Stick Cheryl Neal: to Grace Thomas: to the colours yeah. Cheryl Neal: the Erica Mattern: Oh yeah. Cheryl Neal: company colours Erica Mattern: Yellow Cheryl Neal: though, Erica Mattern: and Cheryl Neal: that's Erica Mattern: grey. Cheryl Neal: yellow and grey. Madeline Stone: Yellow and grey. Cheryl Neal: So what have we, lemon, banana, is Grace Thomas: Mm grapefruit. Madeline Stone: Grapefruit. Cheryl Neal: Grapefruit is what we'd go for, when it comes to the outer appearance perhaps. But mm. Madeline Stone: I would say, if I were to make a decision, I would probably put the fruit aspect at the lower Grace Thomas: Yeah. Madeline Stone: lower end of the spectrum of of importance. Um Erica Mattern: I think having a shape could be a little ridiculous, like Grace Thomas: Yeah. Cheryl Neal: Well we have it banana-shaped Erica Mattern: Well we kinda Cheryl Neal: already, Erica Mattern: do yeah. Grace Thomas: Yeah. Cheryl Neal: kind of. So Madeline Stone: Well perhaps the implied shape will be enough to lure that Grace Thomas: Yeah. Madeline Stone: fruit-minded remote Erica Mattern: And if it's yellow? Madeline Stone: buyer. Cheryl Neal: Right. Grace Thomas: and if it if it was done yellow, which Madeline Stone: It's Grace Thomas: is a company Madeline Stone: it's yellow. Grace Thomas: colour. Cheryl Neal: I it's yellow. Madeline Stone: It's Erica Mattern: Grey buttons Madeline Stone: curved. Erica Mattern: yeah. Cheryl Neal: Well so why Madeline Stone: It's Cheryl Neal: not add Madeline Stone: sort Cheryl Neal: a couple Madeline Stone: of Cheryl Neal: of grey stripes and make Madeline Stone: couple Cheryl Neal: it look Madeline Stone: of Cheryl Neal: like a banana? Madeline Stone: couple Grace Thomas: Yeah. Madeline Stone: of grey stripes. We could put the grey stripes on the bottom so that that person Grace Thomas: On the Madeline Stone: could turn Grace Thomas: the gr Madeline Stone: it Grace Thomas: the Madeline Stone: over. Grace Thomas: rubbery grips could be Madeline Stone: It would look like Grace Thomas: grey. Madeline Stone: a banana Erica Mattern: Mm. Madeline Stone: just sitting on their table. Grace Thomas: Yeah. Cheryl Neal: There you go. Madeline Stone: Rather than rather th Grace Thomas: It could and then you could actually h put the banana-shaped thing on the fruit bowl, Erica Mattern: Oh. Grace Thomas: on the coffee table, and then people would always know where it was. Madeline Stone: Maybe the holder, Erica Mattern: Nice. Madeline Stone: if we were Erica Mattern: Could Madeline Stone: to have Erica Mattern: look Madeline Stone: a Erica Mattern: like Madeline Stone: holder, Erica Mattern: a fruit Madeline Stone: it could Erica Mattern: bowl. Madeline Stone: be shaped Cheryl Neal: It could Madeline Stone: like Cheryl Neal: be Madeline Stone: a fruit. Cheryl Neal: an ape. Madeline Stone: Could Grace Thomas: Yeah. Madeline Stone: be, it could be an ape or a fruit bowl. we Grace Thomas: Yeah. Madeline Stone: could have a variety of options here. Erica Mattern: 'Kay. Cheryl Neal: Yeah. Madeline Stone: Do you have more to your presentation? Cheryl Neal: That's pretty much it. I informed you about the materials, Madeline Stone: Oh. Cheryl Neal: what the interior has to look like, and what the limitations to certain materials are on there you go. Madeline Stone: Okay. I'm gonna plug in here real quick. Cheryl Neal: Sure. Madeline Stone: If Cheryl Neal: Hang on. Madeline Stone: I could. Cheryl Neal: There you go. Madeline Stone: Um ow. Ow. Erica Mattern: So is the two piece idea out? Or have we not decided? Grace Thomas: Well we sort of rid of that because gonna use a battery. And the base station might not be necessary. Erica Mattern: Oh right okay. Cheryl Neal: Well we can still design a two-piece Grace Thomas: Yeah. Cheryl Neal: uh remote um without having a base, having one of them be a base station, Grace Thomas: Yeah. Cheryl Neal: but just have it be an optional either big remote with lots of functions, or you take Erica Mattern: Mm. Cheryl Neal: out the smaller piece. We can still do that. However of course this would be like designing two remotes pretty much. Madeline Stone: Mm-hmm. Cheryl Neal: So um which then, as I understand it, would probably limit the, limit again the the the use of certain materials, because they would be too expensive. Say like have a scroll wheel and uh on both of them, or have an L_C_D_ screen and so on so on. Erica Mattern: Mm. Cheryl Neal: You'd probably have to stick rather with a just traditional rubber button design which we saw there. Erica Mattern: Mm. Cheryl Neal: But could be done, of course. Madeline Stone: Okay. Uh so these are the decisions that we do need to make by the end of this meeting. Um for our components concept we need to come up with the energy source, um the chip-on-print, and the case. Probably case um material. And probably a shape also. Um and then for the user interface concept we need to decide what the tape, what, what the type is. And what kind of supplements we'll have. Um Energy source I think we've, I think we've decided batteries, although not exciting, are probably our best bet. Cheryl Neal: Right. Madeline Stone: And we have five minutes. Cheryl Neal: Okay when it comes to the chip-on-print, as I said, the the more advanced features you want, um the fancier the chip has to be and the more expensive. Uh if you want just a normal button version, the chip-on-print Erica Mattern: Mm. Cheryl Neal: is gonna be a cheap one. Right? Madeline Stone: 'Kay. So Um I guess we should pick the case then. If we go with the plasticky case, or the the plastic case, um then the chip-on-print is still kind of, we could have either or. We could have a complex one or a a non-complex. Cheryl Neal: Yeah. Madeline Stone: But did we decide that the rubbery feel was important enough to us? Erica Mattern: Well what about what you said, like putting Grace Thomas: Just Erica Mattern: the Grace Thomas: just Erica Mattern: finger Grace Thomas: maybe Erica Mattern: grips Grace Thomas: yeah. Erica Mattern: just on Grace Thomas: Just Erica Mattern: top Grace Thomas: a little Erica Mattern: of the plastic? Grace Thomas: bit of. Madeline Stone: Okay. So we would, we would have the L_C_D_ screen? Cheryl Neal: as long as the pla uh the rubber is nowhere near the controls, yes. Madeline Stone: 'Kay. So I guess the case would be plastic, with Perhaps that's not even enough rubber to qualify as being part of it. It's Grace Thomas: Yeah. Madeline Stone: more of a su it's more of a supplement maybe. Erica Mattern: Yeah. Cheryl Neal: M more of a l lamination perhaps. Grace Thomas: Yeah. Erica Mattern: So then for the scroll, are we going for the iPod type? Grace Thomas: Yeah I think so. Erica Mattern: Yeah? Grace Thomas: I think. Erica Mattern: Okay. Madeline Stone: Which will require a more expensive chip-on-print right? Cheryl Neal: Yes. It does. Madeline Stone: 'Kay. So Madeline Stone: I guess that, is that, is that about it? So we have a good idea of what we're gonna need to to do on this? Cheryl Neal: Right. Madeline Stone: Um okay so we will have another meeting in thirty minutes. Um Here's what's gonna be going on. Um Um Ryan you'll be working on the user interface design. Um Manuel you'll be working on the look-and-feel design. Cheryl Neal: Right. Madeline Stone: Corrine we'll want a product evaluation. And the two of you get to play with the uh modelling components and uh maybe and and get us a prototype. Which should go along well with your look-and-feel design and your interface. So that basically just be working on the prototype, uh we'll accomplish your other two actions. Madeline Stone: Alright. Okay. Let's do it.

Madeline Stone reviewed the minutes of the previous meeting. Erica Mattern discussed the results of trend watching reports which indicated a need for products which have a fancy look and feel, are technologically innovative, easy to use, include a fruit and vegetable theme, and are spongy in feel. Erica Mattern stressed the need to incorporate these findings into the team's design and suggested that the team should create a remote that has limited buttons , can be personalized, and is not rectangular. Grace Thomas briefly described how speech recognition technology works and what ways a user can use a remote. Grace Thomas presented three existing products on the market - a voice recognition remote, an iPod, and a children's remote - and discussed a few features to include in the team's design. Cheryl Neal discussed the interior workings of a remote and the restrictions involved in combining various components, energy sources, and materials. Cheryl Neal also discussed with the how to incorporate a fruit and vegetable theme into their design. The team then discussed and decided what components, materials, and energy sources to use.

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train

Julie Leone: Yep. Soon as I get this. Julie Leone: 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. Sarah Dunlap: The prototype discussion. Julie Leone: The prototype yeah. Do you need a this? Sarah Dunlap: No. Julie Leone: Okay. Sarah Dunlap: There Sharon Chandler: Can try Sarah Dunlap: is Sharon Chandler: to Sarah Dunlap: our Sharon Chandler: plug Sarah Dunlap: remo Sharon Chandler: that in there but Sarah Dunlap: 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 Julie Leone: Very Sarah Dunlap: you, Julie Leone: nice. Sarah Dunlap: 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 Sharon Chandler: Right. Sarah Dunlap: you want to add? Sharon Chandler: 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 Sarah Dunlap: Yeah. Sharon Chandler: it from somewhere, Sarah Dunlap: Doesn't make much Sharon Chandler: so Julie Leone: Mm-hmm. Sarah Dunlap: make Sharon Chandler: yeah, Sarah Dunlap: much difference. You Sharon Chandler: you Sarah Dunlap: could Sharon Chandler: have Sarah Dunlap: work Sharon Chandler: some Sarah Dunlap: left-handed Sharon Chandler: rub Sarah Dunlap: or right-handed Sharon Chandler: yeah. Sarah Dunlap: I suppose. Sharon Chandler: Exactly, use both. Might as well Sarah Dunlap: T the Sharon Chandler: think Sarah Dunlap: actual Sharon Chandler: about Sarah Dunlap: thing might be smaller. Sharon Chandler: Th think about the button as Sarah Dunlap: Yeah. Sharon Chandler: well. put either one one on either side or Julie Leone: What but what's Sharon Chandler: not Julie Leone: that Sharon Chandler: do Julie Leone: button? Sharon Chandler: it at all. Sarah Dunlap: Just the on Sharon Chandler: It's Sarah Dunlap: and Sharon Chandler: a quick Sarah Dunlap: off. Julie Leone: Uh, Sharon Chandler: on-off Julie Leone: 'kay. Sharon Chandler: button. That's um yeah I think it's pretty important. So you don't have to fiddle with that. Julie Leone: 'Kay. Sharon Chandler: Right? Um that's not um I'd say a bit smaller would probably be nice. Sarah Dunlap: Yeah. Sharon Chandler: You wanna play with that over there. There you go. Sarah Dunlap: It's you know it's flimsy 'cause it's made out of heavy Play-Doh, Julie Leone: Would you like Sarah Dunlap: but Sharon Chandler: Right. Julie Leone: to uh Brandy Loken: Pretty impressive. Julie Leone: Well done. Brandy Loken: Kind. Sarah Dunlap: And whether or not it would fall into the cost everything I suppose. With the scroll and the L_C_D_. Julie Leone: Well luckily we are going to find out. Or not luckily. Um do you have a Brandy Loken: I Julie Leone: marketing Brandy Loken: do. Julie Leone: presentation for us. Brandy Loken: Okay. You guys are gonna help Brandy Loken do an evaluation of the criteria. Um. Brandy Loken: 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. Brandy Loken: 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. Brandy Loken: Okay. So for the first one, we need to decide, did we solved the problem of the users who complained about an ugly remote? Julie Leone: I think it's definitely Brandy Loken: Mm. Julie Leone: different than anything else Sarah Dunlap: Yeah. Julie Leone: out there. So if they think that what is out there is ugly, then yes Sarah Dunlap: I Julie Leone: I Sarah Dunlap: would. Julie Leone: would say, I would say most definitely. It's bright. Sarah Dunlap: It's bright. It's Julie Leone: It still has your traditional black. Sarah Dunlap: It's curved. It's not there's no sharp angles to Julie Leone: Yep, Sarah Dunlap: it. Julie Leone: not angular. Brandy Loken: Mm. Sharon Chandler: 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, Brandy Loken: Yeah I think Sharon Chandler: we Brandy Loken: the Sharon Chandler: don't Brandy Loken: colours Sharon Chandler: have a say Brandy Loken: detract Sharon Chandler: in that. Brandy Loken: a little Sarah Dunlap: Some people Brandy Loken: bit. Sarah Dunlap: might Sharon Chandler: That has Sarah Dunlap: say Sharon Chandler: been, Sarah Dunlap: it. Yeah. Sharon Chandler: that has been dictated Julie Leone: Mm. Sharon Chandler: pretty much by the company. So Brandy Loken: That's true. Sharon Chandler: uh Julie Leone: Yep. Sharon Chandler: to answer that honestly I would rather say like uh, we have not solved the problem completely with Brandy Loken: Yeah. Sharon Chandler: the ugly remote because the colour is ugly, definitely. Sarah Dunlap: Yeah. Sharon Chandler: 'S nothing you can say about that. I mean I much prefer something like brushed chrome Sarah Dunlap: Yeah. Sharon Chandler: with that form. But Julie Leone: Yeah something more modern to go Sharon Chandler: Right. Julie Leone: a a modern colour to go with the modern form. Sharon Chandler: 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. Brandy Loken: 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 Sharon Chandler: Yeah. Brandy Loken: that sound good? Julie Leone: Yeah. Sarah Dunlap: Yeah. Brandy Loken: What do you think? Three? Four? Julie Leone: I Brandy Loken: Five? Julie Leone: would say four. Brandy Loken: Four Sharon Chandler: Yeah. Brandy Loken: is fair. Okay. Julie Leone: Very non-committal, four. Brandy Loken: Okay, the second one. Did we make it simple for new users? Sharon Chandler: It's very intuitive, I think yeah. Sarah Dunlap: Yeah. I think that was the main aim, one of the main aims that we had. Sharon Chandler: S give it a one. Brandy Loken: One, Julie Leone: Yeah. Brandy Loken: 'kay. Okay. Um, do the controls now match the operating behaviour of the users? Sarah Dunlap: Uh yeah. Brandy Loken: I'd Sarah Dunlap: 'Cause Brandy Loken: say Sarah Dunlap: we've Brandy Loken: that Sarah Dunlap: we've brought it down to basically four controls most common, which Sharon Chandler: Right. Sarah Dunlap: are Julie Leone: Mm-hmm. Sarah Dunlap: channel and volume. And then the other ones are just a matter of just going, just Julie Leone: S Sarah Dunlap: scrolling further. Julie Leone: scrolling through and selecting Sarah Dunlap: Yeah. Julie Leone: a few. Sharon Chandler: Right. Brandy Loken: So one? Sharon Chandler: So that's a one. Brandy Loken: Yeah? Julie Leone: I think that's a one. Brandy Loken: Okay. Okay um the fourth one. How about the problem of a remote being easily lost? One of the number one Sharon Chandler: Something Brandy Loken: complaints. Sharon Chandler: that big and that yellow you just don't lose anymore. Sarah Dunlap: Yeah. Brandy Loken: Whether Sarah Dunlap: It's Brandy Loken: you Sarah Dunlap: bright Brandy Loken: want to Sarah Dunlap: yellow. Brandy Loken: or not, Sarah Dunlap: Bright Brandy Loken: you're Sarah Dunlap: yellow's Brandy Loken: not Sarah Dunlap: hard Brandy Loken: gonna Sarah Dunlap: to Brandy Loken: lose Sarah Dunlap: lose. Brandy Loken: it. Sarah Dunlap: 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. Julie Leone: So if we incorporate speech recognition into it then it Sarah Dunlap: Just Julie Leone: could Sarah Dunlap: just to use, to find it when it was lost. But like I said, like I Sharon Chandler: Oops. Sarah Dunlap: don't think you'd lose something so yellow so easily. And it's Sharon Chandler: Hmm. Sarah Dunlap: not gonna fall, like a rectangle would slip down behind things. That's gonna be a difficult shape to Sharon Chandler: Well Julie Leone: And Sharon Chandler: what Julie Leone: it is quite bright and Sarah Dunlap: Yeah. Maybe in the middle again, three or four or something? Sharon Chandler: S Brandy Loken: Okay. Julie Leone: Uh Sarah Dunlap: I mean you know loo losing things is one of those things that people can lose, Julie Leone: Yeah. Sarah Dunlap: I mean a million ways. You can pick it up and walk away with it and then you've lost it. Brandy Loken: That's true. Sharon Chandler: Mm. Julie Leone: But if we do Brandy Loken: Mm. Julie Leone: go with the, with the speech recognition, then it, then our scale goes up quite a bit Sharon Chandler: Oh Julie Leone: I Sharon Chandler: yeah. Julie Leone: think. Sarah Dunlap: Yeah. Sharon Chandler: You probably Julie Leone: Probably two. You know. If we eliminate the fact that you know it's impossible to guarantee that it's not gonna be lost Sarah Dunlap: Yeah. Julie Leone: then Sharon Chandler: Mm. Julie Leone: I'd say two. With the speech recognition, which of course may be changed depending on budget. Sarah Dunlap: Yeah. Sharon Chandler: Y you could add an extra feature actually. Which makes this thing raise hell when you remove it too far from the television. Sarah Dunlap: Yeah. Sharon Chandler: We could add that but that's nothing we have thought of Julie Leone: Which, Sharon Chandler: so far. Julie Leone: which may be cheaper than speech recognition if it Sharon Chandler: Yes. Julie Leone: were just a Sarah Dunlap: Yeah true. But Brandy Loken: Annoying Sarah Dunlap: I mean d just Brandy Loken: alarm Sarah Dunlap: those whistling, Brandy Loken: or something? Sarah Dunlap: clapping Brandy Loken: Yeah. Sharon Chandler: It's Sarah Dunlap: key rings Sharon Chandler: it's Sarah Dunlap: you have. They're cheap. So it can't be that Sharon Chandler: Um the it's based Sarah Dunlap: expensive. Sharon Chandler: on this anti anti-theft Julie Leone: Some sort of Sarah Dunlap: Yeah. Sharon Chandler: technology Julie Leone: proximity Sharon Chandler: 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. Sarah Dunlap: Yeah. Sharon Chandler: 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 Sarah Dunlap: stick it Sharon Chandler: your Sarah Dunlap: on the T_V_. Sharon Chandler: stick it behind your T_V_ and the other Julie Leone: Pray that you don't accidentally lose that piece. Sharon Chandler: 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. Sarah Dunlap: Yeah. Brandy Loken: So. Are we adding one of these two features? Sharon Chandler: Let's Brandy Loken: gonna Sharon Chandler: add Brandy Loken: say Sharon Chandler: one of those features Brandy Loken: okay. Sharon Chandler: and say yes. Julie Leone: Okay. Brandy Loken: So we're back to a one? Or a two? Sarah Dunlap: Two. Sharon Chandler: Two. Brandy Loken: Two, Julie Leone: Two. Brandy Loken: 'kay. Okay. Are we technologically innovative? Sharon Chandler: Uh Sarah Dunlap: I'd say so. Uh don't get many mo Sharon Chandler: It's all Sarah Dunlap: remote Sharon Chandler: just Sarah Dunlap: controls with screens on. Sharon Chandler: It's all just stolen technology Sarah Dunlap: Yeah Brandy Loken: From Sarah Dunlap: it's stolen Brandy Loken: iPod Sharon Chandler: when it Sarah Dunlap: technology. Sharon Chandler: comes Julie Leone: It's Brandy Loken: yeah. Sharon Chandler: down to Sarah Dunlap: But we have. Julie Leone: But Brandy Loken: But Julie Leone: there's Brandy Loken: for Julie Leone: not Brandy Loken: remotes Sharon Chandler: right Julie Leone: a lot of yellow, there's Brandy Loken: yeah. Julie Leone: not a lotta yellow. Course Sarah Dunlap: Fa Sharon Chandler: right Julie Leone: that wasn't Sharon Chandler: right Julie Leone: really Sharon Chandler: right. Julie Leone: we were kinda forced to take that colour. Brandy Loken: Two? Three? Julie Leone: I don't know that we Sarah Dunlap: 'cause it's Julie Leone: are Sarah Dunlap: stolen. Julie Leone: that innovative, Sarah Dunlap: No Julie Leone: to Sarah Dunlap: maybe Julie Leone: tell you Sarah Dunlap: not. Julie Leone: the Sharon Chandler: Yeah Julie Leone: truth. Sharon Chandler: not really. Brandy Loken: But how many remotes do you see like this? Not Julie Leone: If Brandy Loken: so Julie Leone: we Brandy Loken: many. Julie Leone: added the screaming factor then we go up. Sharon Chandler: Right. Julie Leone: Um I would say we're probably at four. Brandy Loken: Really? Okay. That's gonna hurt us. Okay. Um spongy material? Sharon Chandler: Yeah well you have that, Julie Leone: We have some spongy, Sharon Chandler: kind Sarah Dunlap: Yeah Sharon Chandler: of, Sarah Dunlap: as Julie Leone: yeah. Sarah Dunlap: much as Sharon Chandler: sort of. Sarah Dunlap: as needed, I think. Brandy Loken: 'Kay. Sharon Chandler: It's not a one though. Julie Leone: No. Sharon Chandler: One would be the whole thing Julie Leone: Yeah. Because it's only got Sharon Chandler: to fold and stuff. Julie Leone: what, these parts are the grips and perhaps the back side the Sharon Chandler: Yeah. Julie Leone: bottom the underneath on Sarah Dunlap: Yeah. Julie Leone: the back. Sharon Chandler: So that's a four at Julie Leone: Probably Sharon Chandler: most. Julie Leone: a four at most. Brandy Loken: And Julie Leone: Possibly Brandy Loken: lastly, Julie Leone: even a five. Brandy Loken: did we put the fashion in electronics? Sharon Chandler: Y yes. Brandy Loken: I'd Sarah Dunlap: Yeah. Brandy Loken: say we did. Julie Leone: If Sharon Chandler: More Julie Leone: your fashion is b is Carmen Miranda, you betcha. Sarah Dunlap: Yeah. Sharon Chandler: Well the recent fashion is rather displayed in the Sarah Dunlap: On the Sharon Chandler: in the L_C_D_ and Julie Leone: It's Sharon Chandler: the Julie Leone: true. Sharon Chandler: way you operate it than Sarah Dunlap: Yeah. Sharon Chandler: the form and the colour, but it definitely is. Sarah Dunlap: Be what we were told, and they'd say yeah, definitely. Brandy Loken: 'Kay. Alright. Now we just gotta calculate. Six eight twelve sixteen. Seventeen divided by s Julie Leone: Seven is Brandy Loken: Eight. Julie Leone: Two point Julie Leone: two point four? Sarah Dunlap: Is that some long division? No. Brandy Loken: Well I haven't Julie Leone: Something. Brandy Loken: done math in years. What two I dunno. Sarah Dunlap: Just, I'm sure there's a. Brandy Loken: Okay we'll say two point four two. Right? How does that look? Sharon Chandler: I'm impressed. I can't do that without a calculator. Sarah Dunlap: No I can't do long Brandy Loken: It's Sarah Dunlap: very Brandy Loken: been Sarah Dunlap: impressive. Brandy Loken: a while. Julie Leone: And what what is the acceptable criteria? Is there like a scale that we have to hit? Brandy Loken: Oh no. They just told Brandy Loken to pick my own criteria and have you guys evaluate it basically. Julie Leone: Alright then. Brandy Loken: So that's that. Julie Leone: 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. Sarah Dunlap: 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. Brandy Loken: Oh my god. Okay. Sarah Dunlap: Two point four two basically. Brandy Loken: Yeah we'll go with that. Not Julie Leone: So Brandy Loken: too shabby. Julie Leone: I have here Sharon Chandler: Fifty Julie Leone: an Sharon Chandler: percent, you're kidding. Julie Leone: Yeah. Sharon Chandler: P Julie Leone: We want a fifty percent profit on this. Oh you can't really see that very well. Sarah Dunlap: Charge about three hundred quid for it. Julie Leone: Twelve and a half Euros is what supposed to cost us. Okay, so Sharon Chandler: It's too much. Julie Leone: Well let's Sharon Chandler: Um Julie Leone: see. The f the Wonder if I can make this Sharon Chandler: Uh Julie Leone: What the Julie Leone: Oh it won't let Brandy Loken 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 Sharon Chandler: Battery. Julie Leone: 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. Sharon Chandler: Two. Julie Leone: Two? Like it. Sharon Chandler: At four it's gonna be too heavy, so that that's not our problem. People can change it every month. They won't Julie Leone: Excellent. Sharon Chandler: know until after they bought it. Julie Leone: 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. Sarah Dunlap: We're advanced chip are we? Sharon Chandler: That's the advanced chip-on-print, yeah. Julie Leone: 'Kay, we have one of those. 'Kay then the case is a Probably it's double Sharon Chandler: Double Julie Leone: curved. Sharon Chandler: curved, yes. Julie Leone: Case materials are Sharon Chandler: Plastic. Julie Leone: plastic. Um I guess it's two, since one for the top, one for the bottom. Sharon Chandler: N Julie Leone: Is that right or is Sharon Chandler: no. Julie Leone: it just one? Sharon Chandler: No that's just Julie Leone: Maybe Sharon Chandler: one. Julie Leone: it's one because of the Sharon Chandler: It's just one mo single mould, we can do that. Julie Leone: 'Kay. Sarah Dunlap: Yeah yeah. Brandy Loken: Right. Julie Leone: I guess it doesn't matter 'cause the price on that one is zero, which Sharon Chandler: Exactly, Julie Leone: is nice. Brandy Loken: Oh. Sharon Chandler: right. Julie Leone: Special colour? Sharon Chandler: That's not a special colour. Brandy Loken: Bright Sharon Chandler: It's Brandy Loken: yellow. Sharon Chandler: a specially ugly colour, but it's not special. Julie Leone: Interface type. We have pushbutton, Sarah Dunlap: S Julie Leone: scroll-wheel interface, Sharon Chandler: S Julie Leone: integrated scroll-wheel pushbutton, and Sarah Dunlap: That's Julie Leone: an L_C_D_ display. Sarah Dunlap: Yeah. Julie Leone: So we actually have the L_C_D_ display Sarah Dunlap: And then Julie Leone: and then is it the integrated or Sarah Dunlap: I'd Julie Leone: is Sarah Dunlap: say Julie Leone: it Sarah Dunlap: the integrated. Sharon Chandler: Yes Julie Leone: Yeah. Sharon Chandler: unfortunately. Julie Leone: 'Kay. Button supplement? Special colour? Sarah Dunlap: Mm. Julie Leone: Um special form? Special material. Sharon Chandler: We could of course make the buttons wood. Say mahogany or so Brandy Loken: It'd look really lovely. Julie Leone: Or titanium. Sharon Chandler: Mm-hmm or titanium. Brandy Loken: Yeah. Julie Leone: They cost us all the same. Sarah Dunlap: remote control. Sharon Chandler: Uh Julie Leone: Well Sharon Chandler: just Julie Leone: we only have one button so really we shouldn't be charged, we Sarah Dunlap: No Julie Leone: shouldn't Sarah Dunlap: that's Julie Leone: be Sarah Dunlap: getting Julie Leone: charged Sarah Dunlap: a bit Julie Leone: anything for Sarah Dunlap: tiny. Julie Leone: the the button supplements. Um Sarah Dunlap: Yeah. I'd ignore that. Brandy Loken: Leave it blank. Julie Leone: 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 Sharon Chandler: Yeah that's too much. Julie Leone: is by three Euros over. Sharon Chandler: It's hard to believe. So we'll go for the hand dynamo huh? Julie Leone: So the only thing better than um Sarah Dunlap: If Julie Leone: a banana-shaped Sarah Dunlap: it w Julie Leone: remote is one that you shake. Sarah Dunlap: 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. Julie Leone: Yeah 'cause the Well 'cause we have to have both right? Sarah Dunlap: Yeah. Sharon Chandler: I mean let's let's face it, it also depends on the software on the Sarah Dunlap: Yeah. Sharon Chandler: on the television. You can have the the information that this thing transmits be being displayed on the on the screen. Julie Leone: Mm-hmm. Sharon Chandler: So s yeah let's take Sarah Dunlap: Yeah Sharon Chandler: away the Sarah Dunlap: you could maybe take out the L_C_D_ dis display Sharon Chandler: Yeah. Sarah Dunlap: even, Sharon Chandler: Yeah. Sarah Dunlap: if it if it comes up on the computer itsel on the T_V_ itself. Sharon Chandler: Right. Julie Leone: So we may not need the L_C_D_ display? Sarah Dunlap: Uh that is possible yeah. Sharon Chandler: Right. We may not need it. There you go. Julie Leone: Well there Sharon Chandler: Perfect. Julie Leone: we go. Sarah Dunlap: There we go. Julie Leone: Twelve Brandy Loken: Perfect. Julie Leone: point five. Okay. So we just remove our Sarah Dunlap: Screen. Julie Leone: screen here. Sarah Dunlap: Make it a bigger dial. Easier to use. Even easier to use then. Julie Leone: Besides look at what the L_C_D_ does to our lovely remote. Sharon Chandler: Okay, the Julie Leone: Back to the design room boys. Sharon Chandler: So we can just take away a heck of a lot of the there you go. Brandy Loken: What's the blue part? Sharon Chandler: central? Sarah Dunlap: That was just Brandy Loken: Oh that's Sharon Chandler: Oh that's Brandy Loken: the Sarah Dunlap: we Brandy Loken: batteries. Sharon Chandler: just Sarah Dunlap: ran out of yellow. Sharon Chandler: yeah. Brandy Loken: Okay. Sharon Chandler: There you go. Sarah Dunlap: There you go. Sharon Chandler: Oops. Sarah Dunlap: Even simpler. Brandy Loken: Looks more like a banana. Sarah Dunlap: Yeah. For all those Sharon Chandler: There Sarah Dunlap: fruit Sharon Chandler: you go. Sarah Dunlap: lovers Sharon Chandler: One more Sarah Dunlap: out Sharon Chandler: criteria. Sarah Dunlap: there. Julie Leone: Okay so the costs under twelve point five Euro. Was no. We redesigned it. Sarah Dunlap: Yeah. Julie Leone: 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. Julie Leone: I think that perhaps the project evaluation's just supposed to be completed by Brandy Loken. But I'd like to hear your thoughts. Brandy Loken: Trying to fill in some Sharon Chandler: Fair Brandy Loken: time Sharon Chandler: enough. Brandy Loken: there. Julie Leone: Uh h what did you think of our project process? Sharon Chandler: Great. Sarah Dunlap: we did yeah I think we did quite well. Sharon Chandler: Yeah. Sarah Dunlap: Um Julie Leone: Good. Brandy Loken: Good teamwork. Sharon Chandler: Just half a day, you have a remote. Sarah Dunlap: Yeah. Sharon Chandler: There you go. Sarah Dunlap: Right from the start of the day. Julie Leone: Yeah I Sarah Dunlap: We Julie Leone: think Sarah Dunlap: sort of knew where we were going straight away I thought. Julie Leone: 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 Sarah Dunlap: Yeah. Julie Leone: was the whiteboard Sarah Dunlap: We've Julie Leone: and Sarah Dunlap: used Julie Leone: the pens. Sarah Dunlap: the whiteboard. Sharon Chandler: Super super. Julie Leone: I had some problem with the pen I think, Brandy Loken: Minus Julie Leone: but Brandy Loken: your PowerPoint fiasco. Sharon Chandler: Well Julie Leone: minus your Sharon Chandler: that's Julie Leone: p Sharon Chandler: not my fault. That's Brandy Loken: No Sharon Chandler: obviously Brandy Loken: I know. Sharon Chandler: the Brandy Loken: I'm Sharon Chandler: people I work for uh Brandy Loken: yeah. Julie Leone: Well Sharon Chandler: that work Brandy Loken: Incom Sharon Chandler: for Brandy Loken, uh they've just you know Julie Leone: Have a Sharon Chandler: are gonna roll, believe Julie Leone: we Sharon Chandler: Brandy Loken. Julie Leone: have a list of employees that you would like fired. Sharon Chandler: Yes yes. Julie Leone: Okay. N new ideas found? Um Brandy Loken: Mm. Kinda. Julie Leone: Yes for the remote. Maybe no not f for Sarah Dunlap: Technology used. Julie Leone: technology. Alright. Closing. Costs are within the budget. Project is evaluated. Um complete the final questionnaire and meeting summary. That's it. Sarah Dunlap: Excellent. Julie Leone: And I still have to do my minutes for the last meeting. Actually. Um so there will probably be another questionnaire coming up. Brandy Loken: We might have Julie Leone: And Brandy Loken: a while Julie Leone: then we'll have Brandy Loken: though. Julie Leone: to check with the main boss whether we can, what goes on after that. But that's the end of our meeting.

Julie Leone opened the meeting and read the minutes of the previous meeting. Sharon Chandler and user interface designer presented the prototype they created, which was designed to look like a banana. Brandy Loken 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. Julie Leone 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 Irma Mazzotta 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 Irma Mazzotta 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 Irma Mazzotta 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, Irma Mazzotta 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 Irma Mazzotta 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 Irma Mazzotta 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 Irma Mazzotta 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 Irma Mazzotta 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 Irma Mazzotta 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? Irma Mazzotta a reasonable I ha I date. have Ch no constraints, so it's fine. Um we have the Yeah, don't for forget Irma Mazzotta 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 Irma Mazzotta close this. And uh good luck for your arrangement games. Thank you.

Sonya Ennen opened the meeting and described the layout of the new location the group might be moving to. Sonya Ennen answered questions regarding the number of people per office and whether a lounge was necessary. Sonya Ennen 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.

amisum

train

Vanessa Brown: Okay. Regina Ford: So I see all everybody's here, 'kay. Leota Nowacki: Mm-hmm. Kali Evans: Yep. Regina Ford: And we can start meeting. Vanessa Brown: Okay. Leota Nowacki: What's the agenda for this meeting? Regina Ford: The I will uh present here agenda with with with with slides Leota Nowacki: Okay Regina Ford: to you. Um as you can see here. Kali Evans: Perfect. Regina Ford: So first uh just to mention I will take notes Leota Nowacki: Mm-hmm. Regina Ford: uh of this meeting and uh I will try to work them out and give them to you. I've also made notes of the previous meeting and um I was about to send them you but then uh I had to go to this uh meeting so you will get them too uh Leota Nowacki: Mm-hmm. Vanessa Brown: Next. Regina Ford: Um. Kali Evans: So y you the also. Regina Ford: Yes. Kali Evans: Right? Okay. Regina Ford: Indeed. Um. Then I hope you all have uh worked out some Kali Evans: Perfectly Regina Ford: some Kali Evans: yeah yeah Regina Ford: uh Kali Evans: of course uh-huh. Regina Ford: some some presentations about uh about well you the the task given to you in the previous meeting. Um. W We will uh in a minute we will uh start with them. Um, we will see in which order we will handle them of. Um then I will uh bring in some some some new requirements I I got uh from the uh account manager, I try to work them out, they were quite abstract, and we Leota Nowacki: Mm-hmm. Regina Ford: can have maybe have com some discussion about it. Uh Um about the functions and Well in this meeting we should really try to reach a decision about the target group Leota Nowacki: Mm. Regina Ford: and the functionality of the Kali Evans: You mean the social target group Regina Ford: Yes Kali Evans: who we Regina Ford: I mean Kali Evans: wants Regina Ford: well Kali Evans: to target? Regina Ford: yes w who are we going to uh to Leota Nowacki: Mm. Regina Ford: well Kali Evans: Oh the Regina Ford: to sell Kali Evans: customers, Regina Ford: this, Kali Evans: okay. Regina Ford: the customers, Leota Nowacki: Yeah. Regina Ford: indeed yes. Think that's that's important Leota Nowacki: That's the big question Regina Ford: matter. Leota Nowacki: yeah. Regina Ford: Uh. So And then uh we will close this meeting uh and after this meeting we'll uh we'll have a lunch. Good. Um. Maybe um why uh Anna can you c do you have a presentations? Leota Nowacki: No, I don't. Regina Ford: You don't have presentation? Leota Nowacki: I wasn't. No. Regina Ford: Uh you want a table to to uh Leota Nowacki: I c I can talk about it but I have no Regina Ford: Yes Leota Nowacki: slides Regina Ford: yes Leota Nowacki: or anything. Regina Ford: maybe maybe you can uh can just talk about it or maybe you can use the whiteboard if necessary um. Leota Nowacki: Mm-hmm. Well I've just been um presented with some research we've done in a small focus group so, a hundred people, just asked them about their remote control usage habits and what they want in a remote control. Um. It's probably can't email this to you, I've just got a web page with some data on it. Um basically it's saying that users generally dislike the look and feel of their remote controls. Um seventy five u seventy five percent of users find most remote controls ugly. Regina Ford: Mm-hmm. Leota Nowacki: Um. Eighty percent of users would spend more money when a remote control would look fancy. Um. Current remote controls do not match well the operating behaviour of the user. Uh seventy five percent of users said they zap a lot, so they use their remote control quite frequently while they're watching television. Uh. Fifty percent of users say that they only use ten percent of the buttons, so they've got a remote control with a lot of functionality but really most of the time they only use a small part of that. Regina Ford: Mm. Leota Nowacki: Um. Regina Ford: Do you Do you have this uh information on the web page Leota Nowacki: I have Regina Ford: you Leota Nowacki: an Regina Ford: said? Leota Nowacki: a web page yes. Regina Ford: Yes, mayb maybe you can can send an email to Leota Nowacki later uh. Leota Nowacki: Yep. Yep, sure. Regina Ford: Uh about this. Leota Nowacki: Mm-hmm. So basically um there's a breakdown of how much they use the different functions on a rem remote control. Um, power and volume selection are only used a few times within this uh per hour. Um, channel selection is used a hundred and sixty eight times um and then there's things like channel settings, audio settings, which are only used very infrequently. Regina Ford: Mm. Leota Nowacki: Um. Teletext is used um fourteen times in the hour, so it is used but not nearly as much as Regina Ford: Mm. Leota Nowacki: the channel selection is used. Um. An interesting thing that this report has brought up is that um fifty fifty percent of users report that the remote control gets lost a lot of the time in the room, Regina Ford: Yes Leota Nowacki: so Regina Ford: yes, Leota Nowacki: some Regina Ford: I Leota Nowacki: way of Regina Ford: have that too. Leota Nowacki: some way of locating the remote control would be very useful to a lot of users. Um. Thirty four percent said it takes too long to learn to use a remote control, they want something that's easier to use straight away, more intuitive perhaps. Regina Ford: Mm. Leota Nowacki: Um. Kali Evans: It's it's easy to learn or how do you say it's Leota Nowacki: Thirty four percent said it took too much time to learn to Kali Evans: Okay Leota Nowacki: use a Kali Evans: too Leota Nowacki: new Kali Evans: much Leota Nowacki: one. Kali Evans: time to learn. Leota Nowacki: Yep. Kali Evans: Okay. Leota Nowacki: Um. Kali Evans: Not enough Leota Nowacki: And thirty twenty six percent said remote controls are bad for R_S_I_. I don't know how we'd go about combating that. Vanessa Brown: What do you mean there? Leota Nowacki: For R_S_I_? Respet Repetitive strain injury. Vanessa Brown: Okay. Regina Ford: Mm. Leota Nowacki: So. But Regina Ford: They think that or do their doctor the doctor says? Leota Nowacki: Mm. Regina Ford: But it's it's the opinion of the uh of the Leota Nowacki: Yeah. Regina Ford: users huh? Leota Nowacki: That's what the report Regina Ford: So Leota Nowacki: says yeah. Regina Ford: mm. Leota Nowacki: Um and then it's got a demographic breakdown Kali Evans: Maybe Leota Nowacki: on Kali Evans: y y you cannot put this webpage online on the Leota Nowacki: Uh I should be able to actually, if I email it to you now. Vanessa Brown: You can disconnect it there no? Regina Ford: You can maybe just just Kali Evans: Ah it's Leota Nowacki: Oh no, yeah. Kali Evans: it okay it's a webpage on the C_ Leota Nowacki: Yeah. Kali Evans: it's a file okay. O Leota Nowacki: Um, Kali Evans: otherwise Leota Nowacki: s hang Kali Evans: you. Leota Nowacki: on. Vanessa Brown: Then you can connect this one Kali Evans: can Vanessa Brown: or Kali Evans: this Vanessa Brown: this Kali Evans: one. Vanessa Brown: one yeah. All to your computer. Kali Evans: Yeah. Leota Nowacki: Well. Kali Evans: So these are important numbers that Matthew and I need to take Vanessa Brown: Oh Kali Evans: into account for Vanessa Brown: yeah. Leota Nowacki: Oh Kali Evans: our Leota Nowacki: I need to muck around Kali Evans: functional Leota Nowacki: with this. It's probably Kali Evans: um Leota Nowacki: easier if you put it on yours and then I'll just email it to you. Regina Ford: Hmm. Leota Nowacki: It's just Kali Evans: Yeah Leota Nowacki: a web link. Vanessa Brown: Okay. Kali Evans: Yeah these numbers have have to be have to be taken into account Vanessa Brown: Hmm. Kali Evans: for the uh both yeah user interface and Vanessa Brown: Yeah. Kali Evans: functional design. Leota Nowacki: One thing it goes on to talk about, which is interesting, is the hang on a minute. Kali Evans: Because if there are many numbers and we need to select to to constraint uh our design based on what Leota Nowacki: Mm-hmm. Kali Evans: is more important. Regina Ford: Mm-hmm. Leota Nowacki: Yep. Um, one thing is interesting is talking about um speech recognition in a remote control. Kali Evans: Speech recognition in Leota Nowacki: And who would pay more for that and whether people would find it useful. Regina Ford: D do you have Kali Evans: Ah Regina Ford: numbers Kali Evans: okay. Regina Ford: o o on that? Leota Nowacki: Yes, I'll just get this up. Kali Evans: So that we don't Do we not need any button on Leota Nowacki: Well Kali Evans: the remote Leota Nowacki: potentially Kali Evans: control Leota Nowacki: yeah, Kali Evans: it would be Leota Nowacki: um Kali Evans: all based on speech. Okay. Leota Nowacki: I think even for Kali Evans: Interesting idea. Leota Nowacki: interesti yeah I think that would not work so well. You wanna have both options. Kali Evans: Okay. Regina Ford: Well it would it would be a solution for uh when your remote control is lost, I mean when it Leota Nowacki: Mm-hmm. Regina Ford: has speech recognition then uh Kali Evans: Yeah. Regina Ford: i then it doesn't matter where it is, my well it's we should be in range, Leota Nowacki: Mm. Regina Ford: or maybe it can respond and produce sound, so say where it is. Kali Evans: Yeah. Regina Ford: But the these are all quite fancy features I'm not sure whether Vanessa Brown: Well it would Regina Ford: we Vanessa Brown: be Regina Ford: will Vanessa Brown: f Regina Ford: we can make this for for twelve Euro fi Kali Evans: Yeah. Regina Ford: and fifty Leota Nowacki: Yeah. Regina Ford: cents. Vanessa Brown: No you can't. Kali Evans: And we don't know where the state of the art of speech recognition is, maybe you know? Vanessa Brown: Oh. Well, it depends you know like there is uh a very small vocabulary you want to do the operations like you want say on, off, Regina Ford: Mm. Vanessa Brown: one, Kali Evans: But it's quite noisy if there Leota Nowacki: Mm. Kali Evans: is the Vanessa Brown: twenty Kali Evans: T_V_ Vanessa Brown: three, yeah. Kali Evans: uh Leota Nowacki: Yeah. Vanessa Brown: It's it's Regina Ford: Yes, Vanessa Brown: going Kali Evans: shouting. Vanessa Brown: to be Regina Ford: that Vanessa Brown: li Regina Ford: that Vanessa Brown: it's Regina Ford: that Vanessa Brown: not going to be Regina Ford: that's Vanessa Brown: s Regina Ford: mm. Vanessa Brown: so easy but u usually it's going to be more of an isolated Regina Ford: Do you have some more Vanessa Brown: case Regina Ford: important Vanessa Brown: but it's Regina Ford: facts Kali Evans: Okay. Regina Ford: or Leota Nowacki: Um Vanessa Brown: but I don't Regina Ford: can we Vanessa Brown: know Regina Ford: go Vanessa Brown: with twenty Kali Evans: So Regina Ford: to Vanessa Brown: fi Regina Ford: the next Kali Evans: you had Leota Nowacki: Well Regina Ford: presentation? Kali Evans: to to to summarise maybe the Leota Nowacki: This is now talking about um who would pay for speech recognition in a remote control, who would pay more for it, um. Ninety percent of the fifteen to twenty five year old market said that they would pay more, it goes down from there, seventy six percent for twenty five to thirty five, thirty five percent for thirty five to forty five, um twenty two percent for forty five to fifty five and then Regina Ford: Mm. Leota Nowacki: eight percent Vanessa Brown: Okay Leota Nowacki: for fifty Vanessa Brown: it's Leota Nowacki: five to Vanessa Brown: uh Leota Nowacki: sixty five. Vanessa Brown: decline. Okay. Leota Nowacki: Yeah. Regina Ford: Mm-hmm. Leota Nowacki: But Regina Ford: Decline Leota Nowacki: we sh Regina Ford: with age, Leota Nowacki: Yeah, Regina Ford: mm. Leota Nowacki: it really depends where we're gonna be targeting this product, Regina Ford: Mm. Kali Evans: Mm. Leota Nowacki: um, which we'll be talking about later I think. Regina Ford: Yes. We will talk about it later. Leota Nowacki: Did Regina Ford: Okay. Leota Nowacki: you get the email? Yep, Kali Evans: Mm-hmm. Leota Nowacki: that one. Just follow that link. Kali Evans: I thi You us Leota Nowacki: It'll be in a different Kali Evans: yeah Leota Nowacki: window, Kali Evans: yeah. Leota Nowacki: yep. That's left that one. Yep. Kali Evans: Okay perfect. ... Leota Nowacki: Mm. So that's the figure that I was just talking about there, with the different Vanessa Brown: Okay. Leota Nowacki: demographics. Another thing it's talking about there is the L_C_D_ screen but there's no figures apparently on that. Regina Ford: Mm. Kali Evans: Mm 'kay. Regina Ford: Okay. um Uh maybe uh Mael c c can you give uh uh Kali Evans: Yeah. Regina Ford: your presentation uh? Kali Evans: Mm I okay I stay Regina Ford: Oh, this is Vanessa Brown: Now you can move I think yeah. Regina Ford: Mm-hmm, y y you can move, uh. Kali Evans: I can move as far as Maybe I take your chair? I Regina Ford: Yes. Kali Evans: okay. Regina Ford: You can you can sa take my chair. Vanessa Brown: It's a channel selection, a module, this and this Leota Nowacki: Sorry? Vanessa Brown: function, go to the. Leota Nowacki: Oh. Vanessa Brown: Yeah. Kali Evans: So I think as everybody knows uh I'm the uh Industrial Designer. And uh in this presentation uh this group presentation um is gonna focus on the working design of the the remote control. Um I'd like first to give a quick a very simple introduction, how does it work, so that everybody knows even if you don't have a very uh technical background Leota Nowacki: Mm. Kali Evans: uh what is it because I think in the product it is important. So basically um the basic function of a remote control is to send uh messages to another system that is fixed. Leota Nowacki: Mm-hmm. Kali Evans: And so an energy source feeds an integrated circuit, the chip, that can compose messages, usually uh through a um infrared bit Leota Nowacki: Mm-hmm. Kali Evans: and uh the user interface controls the chip and accordingly the the messages, alright. So my method for um designing the yeah the work design uh yeah first the the main point is that I would wish to to make a really functional product. I would prefer to have very functional um capabilities rather than fancy stuff that in fact is not used and doesn't work. Regina Ford: Mm. Leota Nowacki: Mm-hmm. Kali Evans: So for that yeah as it's important to take into account the user requirements from the Marketing uh Expert uh Anna Leota Nowacki: Mm-hmm. Kali Evans: and um w to to we should agree on what are the technical functions uh for this remote control and I show you the the working design. So um basically uh here is a really large view of what we want. Uh we want an on off button, it can be uh it's simple but it's it's important, Leota Nowacki: Mm. Kali Evans: and also uh the to both channels as well as other buttons that come after, right. So the components I quickly draw here, is that in this part you have the remote control the the sender and on the other part the receiver so that's my method is um will be to well my aim would be to uh design the and choose the chips and the infrared um components to build the remote control right. Leota Nowacki: Mm-hmm. Regina Ford: Mm-hmm. Kali Evans: So of course we need energy sources and uh uh the receiver a a receiver. This is very quick uh design, uh you stop Leota Nowacki or interrupt Leota Nowacki if uh you don't agree on it on that. Regina Ford: Mm-hmm. Kali Evans: And um so what I have found and after a lot of work actually I I draw Leota Nowacki: Well. Kali Evans: this I draw for you this uh schema Regina Ford: Uh-huh. Kali Evans: that can be maybe too technical for you but is very important for Leota Nowacki you know. Leota Nowacki: You drew it a long time ago? Regina Ford: Is huh Kali Evans: And Leota Nowacki: Ninety one. Regina Ford: overwhelming. Kali Evans: uh that's it so I won't go into details about that but Regina Ford: No. Kali Evans: uh these are my preferences to use uh that kind of components. Regina Ford: And and why do Kali Evans: So. Regina Ford: you want these kind of component? I mean, are they cheap, or are they uh reliable? What were your Kali Evans: So components you see here are the cheapest I have found and yeah th you have always a compromise with uh reliability and uh i Regina Ford: Mm. Kali Evans: if it's expensive, but uh this one was not this one also really uh reliable um so yeah that's it for the working design, uh I hope you get clearer view on uh what what a remote control is uh in terms of uh technical Regina Ford: Yes. Kali Evans: components but maybe yeah Regina Ford: It it it's more clear now I think. So Vanessa Brown: But is it uh can you just buy it on the market and f plug it in or you want to ma Kali Evans: No no no no we we will uh This is a preference but we can always change Regina Ford: Mm-hmm. Kali Evans: uh Regina Ford: What I w what I was thinking about uh the the the schema uh about uh the sender and the receiver, I mean can you can Kali Evans: Yeah. Regina Ford: you get back to it? Yeah uh, the receiver is of course already in the television and we are not uh able to change it. Kali Evans: Of Regina Ford: So Kali Evans: course yeah. Regina Ford: we we must adapt to the to the receiver. I I suppose there is a standard uh way of communicating to televisions uh. Kali Evans: Yeah. We will use uh infrared protocol uh using yeah infrared and uh and of course we need to adapt to that protocol that already Regina Ford: Mm-hmm. Kali Evans: exists and but we what we can do is uh uh adapting the the chips inside uh to the best uh chips Regina Ford: Mm. Kali Evans: and Regina Ford: Mm. Mm. Kali Evans: uh Regina Ford: Mm. Kali Evans: infrared bubbles. Regina Ford: Yes. Okay. Kali Evans: Um. Okay. Regina Ford: Thank you. Vanessa Brown: Well it to du it's just you had to change the frequencies. Kali Evans: The frequencies? Yeah Vanessa Brown: Yeah. Kali Evans: yeah. Of course yeah in the chip you have it yeah. Vanessa Brown: But you should be careful, people are sometime becoming problem, like a guy has recently designed a remote uh Kali Evans: That can control Vanessa Brown: uh uh Kali Evans: o Vanessa Brown: which Kali Evans: other Vanessa Brown: could Kali Evans: things. Vanessa Brown: switch off any other T_V_s, Kali Evans: Yeah. Vanessa Brown: so basically through Regina Ford: Mm. Leota Nowacki: Ah. Vanessa Brown: all the things. So maybe we should think of Kali Evans: Of course yeah we should take that Regina Ford: Yeah Kali Evans: into Leota Nowacki: That's Kali Evans: account Leota Nowacki: handy. Regina Ford: yes Vanessa Brown: yeah. Regina Ford: I I Leota Nowacki: So if the Regina Ford: I Leota Nowacki: b T_V_ in the next apartment's Vanessa Brown: Yeah Leota Nowacki: really loud, Vanessa Brown: so Leota Nowacki: you Vanessa Brown: you can Leota Nowacki: can Vanessa Brown: just Leota Nowacki: just turn Vanessa Brown: go on Leota Nowacki: it off. Vanessa Brown: the street and then switch off everyone's T_V_ and you can just walk away You don't have to be near the Leota Nowacki: Yeah. Vanessa Brown: T_V_ at all. Regina Ford: I Leota Nowacki: I like Regina Ford: I Leota Nowacki: that Regina Ford: feel Leota Nowacki: idea. Regina Ford: I I I think M Mael will will consider this uh th these things. Maybe Maybe we can go to to your presentation Vanessa Brown: Yeah Regina Ford: uh Vanessa Brown: so. Regina Ford: Matthew. I I I assume you were finished here. Kali Evans: Yes. Regina Ford: Uh okay. Vanessa Brown: Okay. So I can take I think mine now Kali Evans: Okay. Vanessa Brown: there. Okay so voila. Hmm I can take mine it's okay, voila, mm so mm. Okay. Regina Ford: Oh. I Uh, sorry? I know where it is. Vanessa Brown: It's on the desktop. Regina Ford: It's uh Vanessa Brown: Technical function. Regina Ford: Yes. Vanessa Brown: Okay. Regina Ford: It's uh Vanessa Brown: Like so. Well. So um I'm going to talk a little bit about the technical function so wha what actually it's about what is the user going to do, I think my last Leota Nowacki: Mm-hmm. Vanessa Brown: presented what is going inside, Leota Nowacki: Yep. Vanessa Brown: so what's the user is going to see from the outside and how he is going to use it. So well the approach is that uh basically the idea is to send a message to the T_V_ set, as Mael has pointed, and it will be decoded by the T_V_ and usually we it is easier to have uh keys or buttons with which people can uh press and then um changing a button will basically uh change the message which is being sent to the T_V_ Kali Evans: Mm-hmm. Vanessa Brown: and uh um a and basically it sends an internal signal and decoded by the receiver. So p as um Anna has said that this ki people are interested in things which are you don't need to k press the keys, people are can have a speech recognition but this is uh s a question which will we have to see later. But Regina Ford: Mm-hmm. Vanessa Brown: in the present scenario is that you have certain keys and you press it like your mobile phone, and it sends a message to the T_V_. Regina Ford: Mm. Kali Evans: Yep. Vanessa Brown: And um so generally mm I don't have some figures sorry but um so there are two kinds of uh remote if you popularly in the household, actually so you have a standard T_V_ remote where you have just a on, off button and play, uh volume change and uh keys for the number and more than one digit option. And if you see for example righ right now uh uh even the one uh on more than one digit option is for two digit channel which is like ninety nine, but tomorrow you might have one fifty channels you know to browse or two hundred channels to browse who knows, but uh uh. Then there is uh this is the standard one with without any fancy thing you know like i it doesn't have teletext option, it can without any, it's a very simple thing, um which which you can vouch. And then you have uh what's the v video remote file which is like usually it has almost all the keys over there and, but it then it has other options like stop uh and then you play the movie or uh or fo fast forward the movie or Leota Nowacki: Mm-hmm. Vanessa Brown: something like that so i it has those so these are the standard uh commonly found remote controls in the uh market. And then whi which is generally used by the people. And then well personal preferences I would uh basically think of having a kind of aim for the next generation thing where the we could have both the uh the f a T_V_ and the remote video remote control because uh some of the keys in the video's remote control and the T_V_ they could be integrated together so that uh we could um aim for the like in the f coming future um that type of uh applications Leota Nowacki: Okay. Vanessa Brown: with Leota Nowacki: How would that work? So you've got say maybe a V_C_R_ and a T_V_ which are separate, so you at home I've got a V_C_R_ remote which then changes the channel on the V_C_R_ Vanessa Brown: Yeah. Leota Nowacki: and doesn't do anything on the T_V_, Vanessa Brown: Yeah. Leota Nowacki: so is it gonna be like a switch on the remote that says t use the T_V_ or use the V_C_R_? or does it know which one you want to use? Vanessa Brown: Um actually um you could you could think of um having s a y you can have a key which could tell y it could go to the video Leota Nowacki: Mm-hmm. Vanessa Brown: thing but um uh yo you you you still can't um in that case when it you use that the function should be able to take up the Leota Nowacki: Mm-hmm. Vanessa Brown: V_C_R_ option and you could play it or You can also think about having like um in in few ye coming years you might even have a system where you have a separate uh sitting setup box and Leota Nowacki: Mm-hmm. Vanessa Brown: uh you have uh um something like uh uh you do you do you suppose you are not able to watch some programme and Leota Nowacki: Mm-hmm. Vanessa Brown: actually it downloading all the time for you Leota Nowacki: Mm. Vanessa Brown: and uh you can just you know uh when you come back you could just switch on that thing and uh watch Leota Nowacki: Mm. Vanessa Brown: a program. In that case you want to browse faster, browse slow, you Leota Nowacki: Mm. Vanessa Brown: want to have Regina Ford: Mm Vanessa Brown: those Regina Ford: mm Vanessa Brown: kind of functionalities. Regina Ford: mm mm mm. Leota Nowacki: Mm. Kali Evans: These are kind of next generation Vanessa Brown: It's the next generation thing, Kali Evans: functionalities. Vanessa Brown: but it Regina Ford: Mm Vanessa Brown: is going to come Leota Nowacki: Mm. Vanessa Brown: in couple Regina Ford: yes, Vanessa Brown: of years. Regina Ford: but Vanessa Brown: It's Regina Ford: I Vanessa Brown: goi Regina Ford: think it's i i it's already there, I mean the Vanessa Brown: Yeah Regina Ford: hard Vanessa Brown: it's Regina Ford: disk uh recorders Leota Nowacki: Mm. Vanessa Brown: Yeah. Regina Ford: uh I I've seen them in the shop. Vanessa Brown: Yeah. Leota Nowacki: Yeah. Kali Evans: Mm 'kay. Vanessa Brown: So it's going to record your things and you and Leota Nowacki: Mm. Vanessa Brown: you you need basically the functionalities what you need in Leota Nowacki: Yeah. Vanessa Brown: both uh uh video Leota Nowacki: That's fair enough. Vanessa Brown: as well as in the standard Leota Nowacki: Mm. Vanessa Brown: T_V_ thing. Leota Nowacki: But I don't think we're trying to make a universal remote here. Vanessa Brown: No no we are Leota Nowacki: That's, Vanessa Brown: not making Leota Nowacki: yeah. Vanessa Brown: a universal remote, we are just looking at uh giving a scenario, I have a T_V_ and tomorrow I am going to have set up box Leota Nowacki: Mm. Vanessa Brown: which is going to sit there and Leota Nowacki: Mm. Vanessa Brown: uh it's going to do Leota Nowacki: Because Vanessa Brown: that job Leota Nowacki: y Regina Ford: W Vanessa Brown: for Regina Ford: w Vanessa Brown: Leota Nowacki. Regina Ford: w w we need to decide on on on on in how far we go to in this. Leota Nowacki: Mm-hmm. Regina Ford: Mean, Leota Nowacki: Mm. Regina Ford: you can go pretty far I f I think with with with functions and Leota Nowacki: Mm. Regina Ford: possible uh future p uh Leota Nowacki: Yep. Regina Ford: prospects yes. Vanessa Brown: Yeah. So Regina Ford: But it's good to keep in mind. Leota Nowacki: Mm. Vanessa Brown: Okay so that p ends my presentation. Regina Ford: Mm. Very Vanessa Brown: Well. Regina Ford: well. Vanessa Brown: So we can always discuss about it for example uh the presently the video market actually uh this demand, video over-demand or what we call it as, Kali Evans: Mm-hmm. Vanessa Brown: it's Leota Nowacki: Mm. Vanessa Brown: presently booming up actually Leota Nowacki: Yeah. Vanessa Brown: so it i like people are providing like uh things like uh uh movies, you can select actually so you want to watch a movie and uh your p your provider gives a list of movies, and then you select those list. Leota Nowacki: Mm-hmm. Kali Evans: Yeah. Vanessa Brown: And it basically you go off, it downloads the movie, it gives for you Kali Evans: Yeah. Leota Nowacki: Mm. Vanessa Brown: and then when you come you want to loo watch it on your T_V_. And Regina Ford: Good. Vanessa Brown: thi this is going to come. Kali Evans: Or even you don't need to download it, it's streamed uh online uh Vanessa Brown: Yeah it can Kali Evans: yeah. Vanessa Brown: be streamed Kali Evans: Yeah. Vanessa Brown: online for you and you can say what time I want to watch the movie Kali Evans: Yeah. Leota Nowacki: Mm. Vanessa Brown: and Yeah so. Regina Ford: Um, Vanessa Brown: Yeah. Regina Ford: so u um have uh received some some some some well points of of thinking over of my account manager and uh I would like to share them with you. Leota Nowacki: Mm-hmm. Regina Ford: Um Kali Evans: Mm-hmm. Regina Ford: first thing is uh teletext is a well known feature of televisions but it's Leota Nowacki: Mm-hmm. Regina Ford: it's getting used less and less. Vanessa Brown: Yeah. Regina Ford: That's that's especially because of the internet of course. Leota Nowacki: Hmm. Regina Ford: So we should think about it um. Do we include it, and do we give it a prominent uh prominent uh place on on on the on well huh on the remote Leota Nowacki: Mm. Regina Ford: mot control itself. Uh as uh a in any case it's it's not used, well very much, but it's it is still used. Leota Nowacki: Mm. Vanessa Brown: Um. Regina Ford: Um further yes we must think, uh do we stay uh to to television only, the television as we as we all know it with with broadcasting signals and you can't go back uh huh, or do we uh uh go further as Matthew indicated by supporting uh uh recording uh devices? Uh Leota Nowacki: So D_V_D_s and V_C_R_s? Regina Ford: indeed indeed. Leota Nowacki: Mm. Regina Ford: And and and the hard disk recorders. Um, furthermore, uh, w we need really need to interest uh y younger customers and then with younger customers I mean people uh below the age of forty, Leota Nowacki: Mm-hmm. Regina Ford: and our our current customers are mainly forty plus uh Leota Nowacki: Mm-hmm. Regina Ford: which well Kali Evans: Fourteen Regina Ford: Forty. Kali Evans: or for O okay. So Regina Ford: So that's to that's I mean there's a market but uh they will grow older older and you'll al always need to have the the future with younger people. Leota Nowacki: Mm-hmm. Regina Ford: Um therefore, younger people like trendy trendy designs, so that's w we should make our our our R_C_ as trendy as possible but it should also be uh have a reliable image, so when it looks too too spacey or too fancy people will think well does it work at all. Hmm. Leota Nowacki: Mm. Vanessa Brown: Yeah it's uh well you you can follow the ideas how you want to keep the keys, you know right now if you take it you have like zero, one, two, three like a keys separately, Leota Nowacki: Mm-hmm. Vanessa Brown: but suppose if you take the the present trend of mobile phones Leota Nowacki: Mm. Vanessa Brown: there are like big thick keys you press on the top, it takes one number, you press on the bottom it takes another number, and uh basically uh uh so the space covered so that you don't see two separate keys there actually Kali Evans: Mm-hmm. Vanessa Brown: so it it is Leota Nowacki: Mm. Vanessa Brown: like uh um i i it is like uh Regina Ford: Ma Maybe Maybe you can draw it on the Leota Nowacki: Mm. Regina Ford: on the board Vanessa Brown: Yeah Regina Ford: uh Vanessa Brown: so. Leota Nowacki: But I think taking the idea of getting inspiration from mobile phones is interesting, Kali Evans: Yeah. Leota Nowacki: especially if we're Regina Ford: Hmm. Leota Nowacki: going after a younger market, Regina Ford: Yes yes Kali Evans: Because Regina Ford: mo Leota Nowacki: that's Kali Evans: they are Leota Nowacki: the Kali Evans: already Leota Nowacki: the the Kali Evans: used to that, Leota Nowacki: mm Kali Evans: you know, Leota Nowacki: the new Kali Evans: product. Leota Nowacki: and the funky things, Regina Ford: Yes Kali Evans: Yeah. Leota Nowacki: that's, Regina Ford: it's recognisable Leota Nowacki: yeah, there's lot there's lots of pretty mobile phones, not too many Regina Ford: Mm mm. Leota Nowacki: pretty remote controls. That's Regina Ford: And and they are skilled uh by using it. Leota Nowacki: Mm. Vanessa Brown: So for example uh Well Kali Evans: Mm-hmm. ... Vanessa Brown: uh Okay, it works. Fine. So, for example you Regina Ford: Mael Vanessa Brown: have uh Regina Ford: can Kali Evans: Yes. Regina Ford: you Vanessa Brown: presently Regina Ford: hand Leota Nowacki over this Vanessa Brown: uh keys Regina Ford: uh? Vanessa Brown: like one, two, Regina Ford: Uh thank you. Vanessa Brown: three like this, Leota Nowacki: Mm-hmm. Vanessa Brown: actually, and uh uh four five six like that and uh you can have keys like this in form like uh Leota Nowacki: Okay. Vanessa Brown: keys like that Leota Nowacki: How much longer have we got for the meeting by the way? Regina Ford: Mm well I think Leota Nowacki: 'Cause Vanessa Brown: Forty Leota Nowacki: we haven't Vanessa Brown: minutes? Leota Nowacki: talked about demographic at all and it's Regina Ford: fi Leota Nowacki: a very Regina Ford: five Leota Nowacki: important Regina Ford: min Leota Nowacki: issue. Vanessa Brown: Yeah Regina Ford: Mm-hmm. Vanessa Brown: so you you you can have uh keys like uh which are which are like so. too sorry, so we basically don't change the uh original order of them but then the keys are more spacious, Leota Nowacki: Mm-hmm. Vanessa Brown: they don't look uh so there there is a very sligh thing, so if you press on the top it Leota Nowacki: Mm. Vanessa Brown: takes the one, it takes the three, uh four, sorry four here uh five and six, Leota Nowacki: Mm. Vanessa Brown: so the keys can be it looks you know not very much cluttered Kali Evans: Mm-hmm. Vanessa Brown: but it looks nice for you Leota Nowacki: Mm. Vanessa Brown: don't have too many keys but you can have a lot Regina Ford: Okay. Vanessa Brown: of options t if you Regina Ford: 'Kay Vanessa Brown: press Regina Ford: I Vanessa Brown: on Regina Ford: I Vanessa Brown: the to Regina Ford: think now that the idea's Kali Evans: Yep. Regina Ford: clear. Vanessa Brown: Yeah. Leota Nowacki: Mm. Regina Ford: Uh we should now uh try to decide um on our target group. Leota Nowacki: Yeah. Which I think is quite tricky. Vanessa Brown: Yeah. Leota Nowacki: Um, basically we're trying to get people to buy a remote control wouldn't they already have a remote control with their television when they buy one? Regina Ford: Of course they have already one. So our our our remote control has to be better. Leota Nowacki: But Vanessa Brown: Mm-hmm. Leota Nowacki: it's not going to have more functionality, 'cause it's only a low market, it's a cheap-end remote control, we can't beat modern functionality, we might we'll be able to beat them on th the look of it, th the design of it but that's not a big seller, if they're not just going to buy a new remote control just 'cause it looks pretty, Regina Ford: Mm-hmm. Leota Nowacki: they have to actually need it as well. So I'm not sure how we can get people to buy this thing. Regina Ford: Mm. I well I think many people said uh in your in in your research uh Leota Nowacki: Mm. Regina Ford: uh uh the appearance of the uh R_C_ is is important when they are buying one Leota Nowacki: Yeah. Regina Ford: but Leota Nowacki: But why are they buying one in the first place? Regina Ford: Indeed. So that will be about functionality Leota Nowacki: Mm. But if people are buying a new remote control for functionality they'll buy a universal remote. I've got friends who've got so many things they need a universal remote, otherwise they're using five different remotes Regina Ford: Mm. Leota Nowacki: for their all their Regina Ford: Mm-hmm. Leota Nowacki: things. Regina Ford: Mm. Leota Nowacki: In that case they wouldn't buy our product, because it doesn't give them what they need in terms of functionality. Regina Ford: So your you think we should go for a more u universal high-performance Leota Nowacki: Well, we can't, with the price range. We We're not building a universal remote, Regina Ford: What Leota Nowacki: we're Regina Ford: do Leota Nowacki: not building a high end product. Regina Ford: What do you think about Kali Evans: Yeah Regina Ford: What Kali Evans: we Regina Ford: componen Kali Evans: have yeah twelve point five Euros Leota Nowacki: Mm. Kali Evans: uh per uh per R_ s R_C_ and I think uh with this now you know that chips are very uh cheaps Leota Nowacki: Mm-hmm. Kali Evans: and uh we can include it in our control some new new features. Leota Nowacki: Mm. Kali Evans: Yeah. And Leota Nowacki: But Kali Evans: um Leota Nowacki: yeah. Kali Evans: But yeah Leota Nowacki: If Kali Evans: that's Leota Nowacki: we're getting into universal remote territory, we're getting to L_C_D_ screens and things like that which would drive the cost up a lot. Regina Ford: I Kali Evans: Ye Regina Ford: don't know. I don't know whether that's necessary. Is the L_C_D_ Kali Evans: I don't Leota Nowacki: For Kali Evans: think Regina Ford: screen Leota Nowacki: universal Kali Evans: L_C_D_ Leota Nowacki: remotes Kali Evans: is not necessary well, Leota Nowacki: If you mm. Regina Ford: I think Kali Evans: th Regina Ford: thi Kali Evans: for long Regina Ford: this Kali Evans: term. Regina Ford: could be this could be a market because uh universal remote controls uh tend to be uh quite expensive. Leota Nowacki: And quite complicated Regina Ford: S Leota Nowacki: to use, yes. Regina Ford: so we can try to go in between, and offer a product which is not as expensive and not as Leota Nowacki: Mm-hmm. Regina Ford: complicated Leota Nowacki: Not as flexible maybe, Kali Evans: Yeah. Leota Nowacki: yeah, but s Regina Ford: but but Leota Nowacki: yeah. Regina Ford: still but still people have the idea this is more functional than a normal uh uh Kali Evans: Universal. Regina Ford: R_C_ because Kali Evans: Yeah. Leota Nowacki: Mm-hmm. Regina Ford: it has more uh it it is in some kind universal. Leota Nowacki: Mm-hmm. But if we're going for the say fifteen to twenty five age group then not many of them would actually own T_V_s to use a remote control on. Regina Ford: Mm yes but w we're targeting I think on more on the on the twenty to forty group. Leota Nowacki: Okay. So they're Regina Ford: People Leota Nowacki: yeah. Regina Ford: yes. Who just have or already have a job and have the money Leota Nowacki: Mm-hmm. Regina Ford: but may not want to spend that much money on a Leota Nowacki: Mm-hmm. Regina Ford: on a universal Leota Nowacki: Yep. Regina Ford: universal control. Leota Nowacki: I don't know really what the the price range for remote controls is. Are we gonna be at the very bottom of the price range, or are we kind of middle to bottom? I don't know. Regina Ford: Uh Kali Evans: Mm. Regina Ford: well I think uh when we think it over I thi I think Leota Nowacki: Mm. Regina Ford: we are trying to offer the a kind of universal control for for less money. Leota Nowacki: Mm-hmm. Kali Evans: Yeah. Regina Ford: So d Vanessa Brown: Well Regina Ford: Do you agree? Vanessa Brown: Well I it's fine with Leota Nowacki like the price as long as it is uh not too expensive. Kali Evans: Yeah because Vanessa Brown: Uh and Kali Evans: we have Vanessa Brown: it d Kali Evans: to Vanessa Brown: uh Kali Evans: take into account that Vanessa Brown: Our Kali Evans: we are gonna Vanessa Brown: provin Kali Evans: b we are gonna sell uh four aro around four million so when we speak about these numbers uh the price of a chip is uh price of a chip is very cheap. Leota Nowacki: Mm. Vanessa Brown: Mm. Kali Evans: So I'm okay for designing um a ne uh less yeah a a kind of universal uh R_C_ Regina Ford: Mm-hmm. Kali Evans: yeah. Regina Ford: You think it's possible for the twelve Euro fifty? Kali Evans: Yeah. Regina Ford: Okay. Um so then we we decide on on on going to this more universal kind of control. Vanessa Brown: Uh yeah, that's that's what we needed basically. Leota Nowacki: Mm-hmm. Regina Ford: Mm. Mm. Okay. Vanessa Brown: Uh that's needed right now. And Kali Evans: Yeah that's Vanessa Brown: uh basically Kali Evans: needed, yeah. Vanessa Brown: you can look Leota Nowacki: Mm. Vanessa Brown: to the standards Kali Evans: And if Vanessa Brown: of Kali Evans: we Vanessa Brown: other Leota Nowacki: Yeah. Kali Evans: want to get the market, we really Leota Nowacki: Yeah. Kali Evans: need that. Leota Nowacki: So I Vanessa Brown: Actu Leota Nowacki: guess what I'd like from a universal remote is maybe choosing between three devices, being Kali Evans: Yes. Leota Nowacki: able to switch between them, there may be stereo, V_C_R_ and T_V_. Vanessa Brown: Yeah. Kali Evans: Exactly. Leota Nowacki: And just be Regina Ford: Yes. Leota Nowacki: able to s use them all from the same remote, but not at the same Vanessa Brown: Yeah Leota Nowacki: time. Vanessa Brown: you can Kali Evans: Is that Vanessa Brown: also Kali Evans: okay for Vanessa Brown: browse Kali Evans: you? Yeah. Vanessa Brown: through all the standards Regina Ford: Mm mm Vanessa Brown: you know, Regina Ford: mm mm. Kali Evans: Yeah. Vanessa Brown: where are the limit of standards for all of them and you can just browse through them. Kali Evans: Yeah. Regina Ford: So given we are going for this uh uh universal type uh m maybe it is good when you try to find out which components you therefore need and Kali Evans: Yes. Regina Ford: y you will Leota Nowacki: Mm. Regina Ford: try to get more specific uh user interface Vanessa Brown: Okay. Regina Ford: content Vanessa Brown: Okay. Regina Ford: and uh maybe you can look on on what trends are in Leota Nowacki: Mm-hmm Regina Ford: this uh Leota Nowacki: yep. Regina Ford: in this type of market. Vanessa Brown: Voila. Hmm. Regina Ford: So Vanessa Brown: So. Regina Ford: anyone uh has Vanessa Brown: Well. Regina Ford: a point to bring in or shall Vanessa Brown: Oh Regina Ford: we Vanessa Brown: I don't Regina Ford: no. Vanessa Brown: have anything right now. We can Kali Evans: Oh that's that's Regina Ford: Okay. Kali Evans: fine Vanessa Brown: we'll Kali Evans: then. Vanessa Brown: we'll go and we'll I'm sure we'll up something Leota Nowacki: Mm-hmm. Regina Ford: W Vanessa Brown: good for Regina Ford: yes, Vanessa Brown: the Kali Evans: Yeah. Regina Ford: we uh we can have lunch now. Leota Nowacki: Mm-hmm. Regina Ford: So um Vanessa Brown: Yeah so we Regina Ford: Then Vanessa Brown: meet in Regina Ford: th Vanessa Brown: well what Regina Ford: th Vanessa Brown: are our Regina Ford: the next meeting will uh after lunch you have uh we have uh thirty minutes of work and then we have the next meeting. But you will be informed via the computer. Vanessa Brown: Okay. Regina Ford: Okay. Vanessa Brown: Cool. Kali Evans: Okay Vanessa Brown: So Kali Evans: perfect. Vanessa Brown: see you later.

Regina Ford opens the meeting and presents the agenda using slides. Leota Nowacki explains the research she read about, which is a study done on 100 people asking their remote usage habits and preferences. Kali Evans presents, explaining the basic function of a remote control and how it works. He says they should first agree on the technical functions before he creates working design and chooses the chips and infrared components to build it. The Interface Designer gives his presentation, talking about the remote's technical function of sending a message to the TV set that is decoded by the TV. Standard TV remotes have an on/off button, play, volume change, number keypad, and a 1 or 2 digit option. He suggests that in aiming for the next generation they should have a remote for the TV and video integrated together. Regina Ford recieves a message from account manager, which he shares with the group. They discuss and determine the target group as well as the possibility of making a universal remote for stereo, VCR, and TV. They close the meeting with Regina Ford telling each group member what they will do before the next meeting.

amisum

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Ashley Mcgloster: Did you get my email with the slides? Ashley Mcgloster: Ah. Tricky. Jeannette Jenkins: I guess I have to change the pen otherwise Will. be completely Ashley Mcgloster: Dunno. Jeannette Jenkins: different. Ashley Mcgloster: Maybe they're supposed the pen's supposed to go over the seats. Might be seat floor rather than person. Yeah, put it back. Jeannette Jenkins: Yeah. And do you think it's. Ashley Mcgloster: Yep. Yeah. Jo's making faces at Ashley Mcgloster. Stacey Sweet: Okay. Jeannette Jenkins: Yeah. Stacey Sweet: So. Matthew is uh late again. Ashley Mcgloster: Mm-hmm. Stacey Sweet: Probably an important man. Um. So well it is important for him to be here uh. Jeannette Jenkins: Yeah. So what can Stacey Sweet: He Jeannette Jenkins: you? Stacey Sweet: he he You Jeannette Jenkins: Yeah we Stacey Sweet: did Jeannette Jenkins: will Stacey Sweet: work together didn't Jeannette Jenkins: yeah, Stacey Sweet: you? Jeannette Jenkins: so I will be able to to summarize uh our meeting, but Stacey Sweet: Yes. Jeannette Jenkins: still I think uh it would be in very important if the uh as um main designer. I think we can put on the here. Stacey Sweet: Yes. Yes. Jeannette Jenkins: Uh basically w yeah we we designed the two uh items. Stacey Sweet: Mm. Um Jeannette Jenkins: Um, Stacey Sweet: yes but w we Jeannette Jenkins: have a phone, can someone Stacey Sweet: Yes, maybe we should phone him. Jeannette Jenkins: it's really Stacey Sweet: Um Jeannette Jenkins: w well Stacey Sweet: well Jeannette Jenkins: designed. Ashley Mcgloster: Mm. Stacey Sweet: Um, Ashley Mcgloster: Mm, Stacey Sweet: when he is not here Ashley Mcgloster: object Stacey Sweet: we will Ashley Mcgloster: tracking. Stacey Sweet: just we just have to continue. Um so Jeannette Jenkins: Yeah. Stacey Sweet: just for record I I will take uh notes again. Ashley Mcgloster: Okay. Stacey Sweet: And um well first thing uh I was uh uh I got an email from uh from my superior again that we really should stay within the budget of the Jeannette Jenkins: 'Kay. Stacey Sweet: uh twelve Euro and fifty cents. It's uh well he said to Ashley Mcgloster well uh when you stay in it's good, when you don't stay in you have to redesign. There is no uh no negotiation uh possible in this matter. So we have to consider that. Jeannette Jenkins: Yep. Stacey Sweet: Good. Um so maybe Anna, you can have your Ashley Mcgloster: Well Stacey Sweet: presentation. Ashley Mcgloster: we can't no we can't do evaluation 'til we have a design. Stacey Sweet: Okay Matthew. Nice uh you are here. Jeannette Jenkins: Great. Stacey Sweet: Great. Great. Oh ma maybe then you can start now with mm presenting your uh your designs. Jeannette Jenkins: Yep. So I will start by the the basic one that uh fits into uh eight Euros actually, Ashley Mcgloster: Mm-hmm. Jeannette Jenkins: right, seven eight Euros, and uh well first for both they have um a special shape, maybe the designer can uh explain better than Ashley Mcgloster, but uh it's like a surf board. And Ashley Mcgloster: Mm 'kay. Jeannette Jenkins: you you are supposed to surf to browse to surf T_V_, maybe the web, and uh it's kind of interesting shape because um unconsciously people want to s to surf when Sara Ostrow: Or Jeannette Jenkins: they see Sara Ostrow: browse. Jeannette Jenkins: this stuff. And also it's not too far from um a mobile. Stacey Sweet: Mm. Ashley Mcgloster: Mm-hmm. Jeannette Jenkins: So Sara Ostrow: Mm. Jeannette Jenkins: people are used to that kind of shape, Ashley Mcgloster: Mm-hmm. Jeannette Jenkins: right. Don't take care too much about the colour because w yeah Sara Ostrow: Now we are Jeannette Jenkins: we don't Sara Ostrow: to give Jeannette Jenkins: take Sara Ostrow: some oper Jeannette Jenkins: yeah. Sara Ostrow: offers right now. Jeannette Jenkins: So here would be basically the the the infrared uh Stacey Sweet: Eye. Ashley Mcgloster: Mm-hmm. Jeannette Jenkins: uh Sara Ostrow: I yeah. Jeannette Jenkins: led yeah L_A_ L_A_ L_E_D_, Sara Ostrow: L_E_D_. Jeannette Jenkins: the on-off button, in Ashley Mcgloster: Mm-hmm. Jeannette Jenkins: red. Here would be the volume. Ashley Mcgloster: Oh yeah. Jeannette Jenkins: On the on the Stacey Sweet: Uh-huh. Jeannette Jenkins: left, Sara Ostrow: Mm-hmm, Jeannette Jenkins: okay, Sara Ostrow: hmm. Jeannette Jenkins: so easy Stacey Sweet: Yes. Jeannette Jenkins: to turn on t and off. And um so this is a very cheap version so there are maybe you can carry on uh Matthew. Sara Ostrow: Also so you have uh uh browsing the channels, actually so you Ashley Mcgloster: Mm-hmm. Sara Ostrow: can go up and down Ashley Mcgloster: Yeah. Sara Ostrow: the channels, uh, if you have a video or something you can forward, Jeannette Jenkins: How can Sara Ostrow: back. Jeannette Jenkins: you change from V_C_R_ to uh T_V_, by the way? Sara Ostrow: Oh no no no, this is a single this this is a model with just the T_V_ one. Jeannette Jenkins: Okay yeah. Sara Ostrow: No Jeannette Jenkins: Yeah Sara Ostrow: no Stacey Sweet: Ah, Sara Ostrow: just sorry, Stacey Sweet: okay. Sara Ostrow: this Jeannette Jenkins: yeah. Sara Ostrow: is a standard T_V_ one we, are not talking about that. So and then we have usually there twelve keys but we know that we rel that we have only ten digits. Ashley Mcgloster: Mm-hmm. Sara Ostrow: The extra two are for uh having or giving an option for uh having more than one channel. And the other one is for the teletext or something you want to Jeannette Jenkins: Yeah. Sara Ostrow: browse through from that. Stacey Sweet: Mm-hmm. Ashley Mcgloster: Okay Sara Ostrow: Actually. Ashley Mcgloster: so it's it's t a very basic remote then, it's Sara Ostrow: It's Ashley Mcgloster: only Sara Ostrow: a very basic minimal Ashley Mcgloster: Mm. Sara Ostrow: thing which you Stacey Sweet: Yeah. Sara Ostrow: can Stacey Sweet: Yeah. Sara Ostrow: which Stacey Sweet: Yeah. Sara Ostrow: is which is also available in the market, actually that's what it that it i and would cost us Stacey Sweet: Mm. Sara Ostrow: to build it Ashley Mcgloster: Mm. Jeannette Jenkins: Seven, Sara Ostrow: about eight Jeannette Jenkins: eight, ei Sara Ostrow: Euros. Jeannette Jenkins: eight Euros. Stacey Sweet: Exce except for the for the special shape, the surfing board, it has a quite Sara Ostrow: Yeah. Stacey Sweet: a a conventional layout of buttons Sara Ostrow: Yeah. Stacey Sweet: uh. Jeannette Jenkins: Yeah. Sara Ostrow: So this one model and uh Ashley Mcgloster: Can I see? Sara Ostrow: yeah. Ashley Mcgloster: Thanks. Sara Ostrow: Sure. Ashley Mcgloster: Okay I like the volume control, that's good. Sara Ostrow: Th this is a magic one but I know we don't want to talk about that, you know like uh i i i it is a very futuristic, it's like uh it's like a brain machine interface and all this Ashley Mcgloster: Uh-huh. Sara Ostrow: stuff we are Jeannette Jenkins: Yeah. Sara Ostrow: thinking about in the future, it can come. Ashley Mcgloster: So it doesn't actually have buttons. Sara Ostrow: So that uh then what we look Ashley Mcgloster: Did you wanna see? Sara Ostrow: t yeah. Stacey Sweet: Mm-hmm. Yeah no you Sara Ostrow: This Stacey Sweet: can Sara Ostrow: is a Stacey Sweet: carry Sara Ostrow: model, Stacey Sweet: on, Sara Ostrow: yeah. Stacey Sweet: I just look how it feels all. Yes it really feels like like like a mobile phone. Ashley Mcgloster: Mm. Jeannette Jenkins: Yeah. Sara Ostrow: Yep. Stacey Sweet: Just I'm Jeannette Jenkins: Yeah actually, yeah. Stacey Sweet: I really want to talk to it. But. Ashley Mcgloster: It won't talk back. Stacey Sweet: So but but continue with your Sara Ostrow: Uh so Stacey Sweet: uh mm-hmm. Sara Ostrow: well then the this is the a more a little uh smooth and it gives a lot of functionality, uh in this way, so all we have uh th you see there are only six keys, but don't worry they are ma they are doing the job of twelve keys actually Ashley Mcgloster: Right. Stacey Sweet: Mm. Sara Ostrow: here. And so they have more space actually Ashley Mcgloster: Mm-hmm. Sara Ostrow: and uh it's easy to uh use this and uh you have um so this is a standard uh uh infrared eye, and then you have a power button, which l volume, what you have, Stacey Sweet: Mm-hmm. Sara Ostrow: and then other than that you have uh channel up and down and uh f slow pause or s slow Jeannette Jenkins: Play, Sara Ostrow: lo Jeannette Jenkins: pause. Sara Ostrow: yeah s pause or stop, and uh then uh you can uh you have a L_C_D_ display, Stacey Sweet: Mm-hmm. Sara Ostrow: here and uh y this is a functional thing which can change like it's a toggle switch which could change the function say, y you Stacey Sweet: From Sara Ostrow: press Stacey Sweet: D_V_D_ Sara Ostrow: it Stacey Sweet: player to television Sara Ostrow: Yeah. Stacey Sweet: or Jeannette Jenkins: Exactly Stacey Sweet: something. Sara Ostrow: I Jeannette Jenkins: yeah. Sara Ostrow: really can change Stacey Sweet: Yes. Jeannette Jenkins: To Sara Ostrow: it, Jeannette Jenkins: audio Sara Ostrow: so Jeannette Jenkins: and to Stacey Sweet: Mm. Sara Ostrow: Instead Jeannette Jenkins: video Sara Ostrow: of having Jeannette Jenkins: on Sara Ostrow: many Jeannette Jenkins: demand. Sara Ostrow: switches, Ashley Mcgloster: Mm-hmm. Stacey Sweet: Yes Sara Ostrow: y Stacey Sweet: and and and then you get feedback via the L_C_D_ yeah. Sara Ostrow: The L_C_D_ can display Jeannette Jenkins: Yes. Sara Ostrow: what is Stacey Sweet: Mm-hmm. Sara Ostrow: that on that, and uh well you can have a integrated microphone over here, Jeannette Jenkins: This is the orange Sara Ostrow: or Jeannette Jenkins: button, the Sara Ostrow: in the button Jeannette Jenkins: microphone. Sara Ostrow: th here, so Stacey Sweet: Mm-hmm. Sara Ostrow: which can uh basically you want to do a speech recognition and uh that channel a lot of information can be di displayed here directly on the um on Jeannette Jenkins: An Sara Ostrow: your on Jeannette Jenkins: yeah. Sara Ostrow: your display. And here is a small L_E_D_ which is like blinking one, Stacey Sweet: Mm-hmm. Sara Ostrow: which tells you like uh are you running out of the battery, and which is can be useful for the locating as I was talking earlier Jeannette Jenkins: Yeah. Sara Ostrow: okay. Stacey Sweet: Mm-hmm. Sara Ostrow: And uh well then we have a cover basically, basically you don't need much of the time this, Jeannette Jenkins: Yeah. Sara Ostrow: when you need you can use it, and this gives additional functionality that tomorrow you want you can add a tactile thing to Stacey Sweet: Mm. Sara Ostrow: this cover Jeannette Jenkins: Crazy Sara Ostrow: you know. Jeannette Jenkins: dis designer, okay. Sara Ostrow: Design enter. Stacey Sweet: Yeah but but but but uh i in there uh when this is closed, Sara Ostrow: Yeah. Stacey Sweet: will it also uh cover up the L_C_D_ Jeannette Jenkins: Yeah Stacey Sweet: screen? Jeannette Jenkins: yeah yeah yeah. Sara Ostrow: Yeah. It's basically to Jeannette Jenkins: Yeah. Sara Ostrow: do Stacey Sweet: But Sara Ostrow: that. Stacey Sweet: but the L_C_D_ screen I mean is a very uh well an eye-attracting feature which shouldn't Sara Ostrow: Actually Stacey Sweet: be shouldn't Sara Ostrow: when you Stacey Sweet: be Sara Ostrow: are watching the T_V_, Jeannette Jenkins: Oh actually well. Sara Ostrow: when you are watching anything or listening to them, you hardly care about what is getting displayed here, you know, uh Stacey Sweet: That th Sara Ostrow: you Stacey Sweet: that's Sara Ostrow: want Stacey Sweet: true. Sara Ostrow: to uh and this gives a protection to the L_C_D_ actually, giving a cover to that actually. Stacey Sweet: Mm. Sara Ostrow: Gives a protection because when it falls down or something it it is Stacey Sweet: Mm-hmm. Sara Ostrow: it Stacey Sweet: Mm-hmm. Sara Ostrow: is Stacey Sweet: Yes. Sara Ostrow: is is it Stacey Sweet: Yes, Sara Ostrow: gives Stacey Sweet: more Sara Ostrow: a Stacey Sweet: robust. Sara Ostrow: protec it's more robust that way. Stacey Sweet: Yes okay. Ashley Mcgloster: Mm. Sara Ostrow: Uh yeah. And you have very good chances Jeannette Jenkins: It's low weight. You have to Sara Ostrow: Yeah. Jeannette Jenkins: see yeah yeah the the components we put inside is very low weight. Stacey Sweet: Mm-hmm. Sara Ostrow: Yeah. Jeannette Jenkins: So the the cost is actually a bit more, it's uh Sara Ostrow: It Jeannette Jenkins: it's it's sixteen Francs. Sara Ostrow: Sixteen Euros. Jeannette Jenkins: Sixteen Euros sorry. Stacey Sweet: Okay. Ashley Mcgloster: So it's well outside the budget then. Jeannette Jenkins: Then it's out of budget. But Stacey Sweet: But Jeannette Jenkins: the Stacey Sweet: w Jeannette Jenkins: the main point we we talk about that with our uh manufacturer. And Sara Ostrow: Yeah. Jeannette Jenkins: they say basically that the S_R_ system would be uh something like three Francs per item Sara Ostrow: Three Euros. Jeannette Jenkins: so three Euros sorry. And um Ashley Mcgloster: That's on top of the sixteen, or is it part of that? Jeannette Jenkins: No no no, part of that, yeah. Sara Ostrow: Part of that. Ashley Mcgloster: So that takes it down to thirteen Euros without the Jeannette Jenkins: Yeah, Ashley Mcgloster: speech recognition. Jeannette Jenkins: yeah. Stacey Sweet: Mm 'kay. Sara Ostrow: Yeah. Stacey Sweet: Hmm. Ashley Mcgloster: Mm-hmm. Sara Ostrow: Well uh if you we can have if you have new more ideas we can add new more uh some more keys if you want to you know Stacey Sweet: Mm-hmm. Jeannette Jenkins: Well I think th th yeah we should stick with uh a number of Ashley Mcgloster: Mm. Jeannette Jenkins: keys because if we add too much then Sara Ostrow: Yeah it it should Stacey Sweet: Mm-hmm. Jeannette Jenkins: it's Sara Ostrow: not Jeannette Jenkins: too Sara Ostrow: be cluttering up everything. Ashley Mcgloster: What's this one on the side? Sara Ostrow: Ah that's for the it's kind of a L_E_D_ Jeannette Jenkins: Locati. Sara Ostrow: for Jeannette Jenkins: Location. Sara Ostrow: indicating your battery Ashley Mcgloster: Ah okay. Sara Ostrow: and as well as it's like a blinking one you Ashley Mcgloster: Mm-hmm. Sara Ostrow: know you can Jeannette Jenkins: Yeah. Sara Ostrow: keep it aside. Ashley Mcgloster: Mm 'kay. I like the shape of them, I do like the Sara Ostrow: Yeah. Ashley Mcgloster: the size Stacey Sweet: Well well Ashley Mcgloster: and the the shape. Stacey Sweet: Mm. Be before ta talking about the money and what's possible Ashley Mcgloster: Mm-hmm. Stacey Sweet: and what is not possible, maybe Anna you can uh give our uh give us your Ashley Mcgloster: Okay. Stacey Sweet: um Ashley Mcgloster: And maybe we run the evaluation on both of the products, both of these two. Stacey Sweet: Yes. Evalua evaluation and also the evaluation criteria, so what Ashley Mcgloster: Okay. Stacey Sweet: what is important to look at. Ashley Mcgloster: Basically this is what we've talked about already, um, Stacey Sweet: Mm-hmm. Ashley Mcgloster: from the marketing point of view. We just wanna make sure that we've taken into account Stacey Sweet: Well just Ashley Mcgloster: Yep. Stacey Sweet: do it quickly if if we al already. Ashley Mcgloster: So it's just a shortlist of criteria on Stacey Sweet: Mm-hmm. Ashley Mcgloster: um the things that we've identified as being important to selling the product. Um we just go through these and rate them as a group and then at the end we'll make an evaluation based on that, so just average the score of those items, so These are the things we identified as being important. Um the three things were look and feel, innovation and ease of use, Stacey Sweet: Mm-hmm. Ashley Mcgloster: were the three important components um appealing to the correct demographic so using those things in the right way to appeal to our demographic. And then goin following the company motto, following the fashion trends and putting that into the product as well. So well do you wanna go through and put through those on the the two products now or do we wanna discuss them further and then evaluate them? Stacey Sweet: Um, n no why not why not discuss uh discuss it now, Ashley Mcgloster: Okay. So f just go through onto the whiteboard I guess. Not sure how this is gonna come out. Ashley Mcgloster: So the first one was really very far below budget, would you want to take the price down of the end product according to that or just have the high profit on it? 'Cause if we're only going to make it for eight Euros then we have a Stacey Sweet: Mm, well my my personal view is uh w when when this one is eight Euros we must think how can we improve it. Ashley Mcgloster: Mm-hmm. Stacey Sweet: And then I mean w w w you must just see it we can still spend this four Ashley Mcgloster: Mm-hmm. Stacey Sweet: and a half Euro and Ashley Mcgloster: Yep. Stacey Sweet: to r because th th th the the selling price is already prite fik uh uh quite fixed on twenty five Euros Jeannette Jenkins: Mm-hmm. Ashley Mcgloster: Mm-hmm. Stacey Sweet: so we just have to offer as much as as Jeannette Jenkins: Functionality. Stacey Sweet: well value for the for the customer uh he can have for twenty five Euro. Ashley Mcgloster: Okay so look and feel, innovation Sara Ostrow: And now it easy to use. Jeannette Jenkins: Easy to use. Stacey Sweet: Mm. Jeannette Jenkins: target. Ashley Mcgloster: Mm-hmm. Ashley Mcgloster: And trends. Oh, you following the idea of using the um removable covers on these? Is that Stacey Sweet: Um Ashley Mcgloster: part of both of them Stacey Sweet: well Ashley Mcgloster: or? Stacey Sweet: w w we can still discuss that. Ashley Mcgloster: Okay. Stacey Sweet: So um, and together with evaluating this uh we we might come with new ideas I mean Ashley Mcgloster: Mm-hmm. Stacey Sweet: adding things or uh removing uh of options because they are too expensive, Ashley Mcgloster: Mm-hmm. Stacey Sweet: but um I've received uh a framework which we can do this. I mean did Ashley Mcgloster: Mm-hmm. Stacey Sweet: you have this this Excel sheet? Jeannette Jenkins: No. Sara Ostrow: No. Stacey Sweet: No okay, Ashley Mcgloster: No. Stacey Sweet: this is these are the the the latest prices of our production uh uh production unit for several components, so we can uh see whether the the price is is within the twelve Euro Ashley Mcgloster: Mm-hmm. Stacey Sweet: uh fifty cents Ashley Mcgloster: Okay. Stacey Sweet: uh. So maybe we can start with this, uh, calling this one. Ashley Mcgloster: Okay. Yep. So it's the pink. Stacey Sweet: Th th this is the first design. Ashley Mcgloster: And the other one's green. Stacey Sweet: Yes. Ashley Mcgloster: Okay, so look and feel? Where um one is I've broken the pen again. Stacey Sweet: Uh there is another Ashley Mcgloster: S Stacey Sweet: pen. Ashley Mcgloster: yeah. Get that one. Um w one's bad and seven's the best. Sorry, one's true and seven's false. One's the best. Stacey Sweet: Okay. Ashley Mcgloster: So on a scale of Stacey Sweet: 'Kay. Ashley Mcgloster: one to seven? Stacey Sweet: Okay. So. Look and feel. Well you already feel that uh pretty much I think. Stacey Sweet: In i in my opinion Ashley Mcgloster: Mm-hmm. Stacey Sweet: purely feel is Ashley Mcgloster: Mm-hmm, Stacey Sweet: is is very good, Ashley Mcgloster: yeah. Stacey Sweet: is very good in your hand, so Ashley Mcgloster: Mm-hmm. Stacey Sweet: I I I would consider two or or may maybe even one Ashley Mcgloster: Mm-hmm. Stacey Sweet: for feel. But that's just half, we should also consider look, Ashley Mcgloster: Mm-hmm. Stacey Sweet: and then i it looks quite conventional. Ashley Mcgloster: Mm. Stacey Sweet: Don't you agree? Sara Ostrow: Mm yeah. Ashley Mcgloster: On the scale u it's between Stacey Sweet: So maybe Ashley Mcgloster: functional Stacey Sweet: two. Ashley Mcgloster: and Stacey Sweet: Hmm. Ashley Mcgloster: fancy Stacey Sweet: Hmm. Ashley Mcgloster: basically Stacey Sweet: Ma ma ma Ashley Mcgloster: we're looking Stacey Sweet: ma Ashley Mcgloster: at, Stacey Sweet: maybe Ashley Mcgloster: so Stacey Sweet: say say five I It's my opinion, but I don't know what Sara Ostrow: Well Stacey Sweet: what Sara Ostrow: I will give it maybe we have anyways the way we have designed it's like the surf Ashley Mcgloster: Mm-hmm. Sara Ostrow: as you say Jeannette Jenkins: Yeah. Sara Ostrow: you know. It though the look is fine but uh still I will give four in that case Jeannette Jenkins: Yeah. Sara Ostrow: you know. Jeannette Jenkins: Four maybe. Ashley Mcgloster: Four? Sara Ostrow: Four Stacey Sweet: Four, Ashley Mcgloster: Okay. Sara Ostrow: yeah Stacey Sweet: four. Now Sara Ostrow: that Stacey Sweet: we th th then we settle Ashley Mcgloster: Mm-hmm. Stacey Sweet: on four. Sara Ostrow: Yeah. I will gi yeah. Jeannette Jenkins: Uh. Stacey Sweet: 'Kay. Can you maybe fix the other Jeannette Jenkins: Yeah. Ashley Mcgloster: Mm. Jeannette Jenkins: If you press like this not like this then you Ashley Mcgloster: No that's the Sara Ostrow: No. C Ashley Mcgloster: ink's Sara Ostrow: can you Ashley Mcgloster: dried. Sara Ostrow: get the batteries? No no the battery has fallen down, Ashley Mcgloster: Battery's Sara Ostrow: that's i Ashley Mcgloster: low, isn't it the ink? The b that's the that that one? Sara Ostrow: Yeah. Ashley Mcgloster: battery there. Jeannette Jenkins: But Sara Ostrow: No no it's not that, it's how to close a battery. Jeannette Jenkins: Okay. Sara Ostrow: Okay? Now it should be. Ashley Mcgloster: Mm. No I think it's lost a battery. Stacey Sweet: Mm, try it, just try it. Ashley Mcgloster: No it's Stacey Sweet: Oh it will Ashley Mcgloster: It Stacey Sweet: not Ashley Mcgloster: would Stacey Sweet: ri Ashley Mcgloster: still write but it wouldn't Stacey Sweet: mm, Ashley Mcgloster: pick it up with the sensors. Stacey Sweet: mm. Sara Ostrow: Is there another battery there? Oh yeah. Ashley Mcgloster: You got a second? Jeannette Jenkins: Try a Ashley Mcgloster: Well we won't be able to tell. Stacey Sweet: Yes, it it has a mm. Jeannette Jenkins: Perfect. Ashley Mcgloster: Is that working? Did it come out? Good. Okay. Stacey Sweet: Good. Good. Ashley Mcgloster: Because we'll be able to see it still even if it wasn't working, it's just a normal whiteboard Jeannette Jenkins: Yeah, Ashley Mcgloster: marker Jeannette Jenkins: yeah. Ashley Mcgloster: but it wouldn't be picked up on the the actual whiteboard. Jeannette Jenkins: Yep. Stacey Sweet: Okay. So then then Ashley Mcgloster: And the other one? Jeannette Jenkins: Wow. Stacey Sweet: Ah. Ashley Mcgloster: I think it's slightly better, Stacey Sweet: Mm. Ashley Mcgloster: um, it's hard to tell from just Stacey Sweet: I Ashley Mcgloster: the Stacey Sweet: I Ashley Mcgloster: plasticine, but Stacey Sweet: I When we want to include I I I'm doubting about this this component. It Ashley Mcgloster: Mm. Stacey Sweet: it it it breaks in your Jeannette Jenkins: 'Kay maybe Sara Ostrow: No Ashley Mcgloster: Mm. Sara Ostrow: actually this is this is not going to protrude actually, Ashley Mcgloster: Okay. Sara Ostrow: it Jeannette Jenkins: It's Sara Ostrow: is Jeannette Jenkins: not Sara Ostrow: jus Jeannette Jenkins: a button it's a led, it's Sara Ostrow: It's a led Jeannette Jenkins: a Sara Ostrow: actually which which 'll be covering in a curve Jeannette Jenkins: Ac actually yeah Stacey Sweet: Mm, Jeannette Jenkins: it should be embedded. Sara Ostrow: It's will Stacey Sweet: yes Ashley Mcgloster: Mm-hmm. Sara Ostrow: be embedded Stacey Sweet: I see, Jeannette Jenkins: Yeah. Sara Ostrow: there Ashley Mcgloster: Yeah. Sara Ostrow: so Stacey Sweet: mm Sara Ostrow: it Stacey Sweet: okay. Sara Ostrow: won't be really you know Jeannette Jenkins: Oh you can Sara Ostrow: protruding Jeannette Jenkins: push Sara Ostrow: or Jeannette Jenkins: push Sara Ostrow: something. Jeannette Jenkins: it again, you can push it. Ashley Mcgloster: Yeah. The Sara Ostrow: Yeah. Ashley Mcgloster: other thing is, is the left hand one protruding? 'Cause if Sara Ostrow: Yeah. Ashley Mcgloster: people are left handed they want to use the other hand, maybe Sara Ostrow: Yeah. Ashley Mcgloster: it won't work so well. Sara Ostrow: No you it it not protruding actually, it will go in better Ashley Mcgloster: Okay. Sara Ostrow: into that Stacey Sweet: Well r r Ashley Mcgloster: I'd say two or three for that one, personally. Stacey Sweet: Mm. Ashley Mcgloster: Probably more towards three than two. Stacey Sweet: I think the look is better but the feel is is is worse. So so I would also say this is four. Ashley Mcgloster: Okay. Stacey Sweet: But w w do you what do you think? Sara Ostrow: Uh it's fine I think. My just that um the feel is that um you right now you you don't see the feel because right uh for example if you press it quite inside now like this, now it's embedded Jeannette Jenkins: Yeah. Sara Ostrow: one. Stacey Sweet: Mm. Mm. Yes. Sara Ostrow: This is how embedded one Stacey Sweet: Yes, Sara Ostrow: will Stacey Sweet: it basically is the same shape. Sara Ostrow: Yeah. It's a bas basically the same thing actually. Stacey Sweet: Mm-hmm. Sara Ostrow: You Stacey Sweet: Mm. Sara Ostrow: will be Except that Jeannette Jenkins: And Sara Ostrow: in this Jeannette Jenkins: the Sara Ostrow: c Jeannette Jenkins: L_C_D_ makes it better. Sara Ostrow: Yeah. Jeannette Jenkins: Yeah. Sara Ostrow: And Stacey Sweet: Yeah. Sara Ostrow: you Stacey Sweet: Yeah. Sara Ostrow: might Ashley Mcgloster: Mm, Stacey Sweet: Yeah. Sara Ostrow: have a slight Ashley Mcgloster: okay. Sara Ostrow: thing for to forward Jeannette Jenkins: So I will Ashley Mcgloster: Yeah Sara Ostrow: and Jeannette Jenkins: say Ashley Mcgloster: it's d it's Jeannette Jenkins: two. Ashley Mcgloster: definitely more fancier than that one. Sara Ostrow: Yeah, Stacey Sweet: Yes, Sara Ostrow: yeah. Stacey Sweet: okay. Jeannette Jenkins: I would say two, Ashley Mcgloster: Okay. Jeannette Jenkins: three. Sara Ostrow: Yeah. Ashley Mcgloster: So, consensus? Two or three? Stacey Sweet: Two? Mm. Ashley Mcgloster: Two? Jeannette Jenkins: Yep. Stacey Sweet: Two's good yes. Sara Ostrow: looking Ashley Mcgloster: Um, Sara Ostrow: like Ashley Mcgloster: 'kay. Innovation. The first one, not Jeannette Jenkins: Basically Ashley Mcgloster: really muc Jeannette Jenkins: there is no innovation in the first one Ashley Mcgloster: Mm. Jeannette Jenkins: compared to what exists in the market, Ashley Mcgloster: Yeah. Jeannette Jenkins: right? Sara Ostrow: No but Ashley Mcgloster: Do we Sara Ostrow: except for the design of the surf. Jeannette Jenkins: Yeah. The Ashley Mcgloster: Mm. Jeannette Jenkins: surf uh design. Stacey Sweet: Mm. Ashley Mcgloster: What Sara Ostrow: You should be Ashley Mcgloster: What Sara Ostrow: rea Ashley Mcgloster: features are we actually including? Are we including like a location kind of thing like trying to find it? Sara Ostrow: Uh no I think it's Ashley Mcgloster: There's Sara Ostrow: more Ashley Mcgloster: nothing Sara Ostrow: of the Ashley Mcgloster: like Sara Ostrow: feel. Ashley Mcgloster: that? But th all, it's just Sara Ostrow: Yeah, Ashley Mcgloster: a straight-out Sara Ostrow: yeah. Ashley Mcgloster: remote control. Sara Ostrow: Yeah. Stacey Sweet: Mm-hmm. Jeannette Jenkins: Yeah. Stacey Sweet: Mm-hmm. Ashley Mcgloster: Okay. Stacey Sweet: The only innova innovation is the shape. Jeannette Jenkins: Yeah. Sara Ostrow: Say about that. Ashley Mcgloster: Okay. Stacey Sweet: S so that Ashley Mcgloster: So there's no this uh look and feel thing, though that's not a technological Jeannette Jenkins: Yeah. Ashley Mcgloster: innovation. Sara Ostrow: Yeah. Jeannette Jenkins: You're right. Ashley Mcgloster: So I'd be up for seven for Jeannette Jenkins: Yeah. Ashley Mcgloster: innovation. Jeannette Jenkins: And the And the second one is really uh state of the art, Sara Ostrow: Yep. Jeannette Jenkins: uh in terms of innovation. Stacey Sweet: Mm. Jeannette Jenkins: And um with many more functionalities, and can open and close the Sara Ostrow: Yeah, it Jeannette Jenkins: the bottom Sara Ostrow: gives Jeannette Jenkins: part. Sara Ostrow: it Stacey Sweet: Yes. A and the L_C_D_ screen is Jeannette Jenkins: Yeah. Stacey Sweet: That's that's that's well it's quite Jeannette Jenkins: And all Stacey Sweet: innovative. Jeannette Jenkins: the scrolling uh buttons and menu and pro programmable device behind this. Stacey Sweet: Mm. Jeannette Jenkins: Uh could put it at one or two I would say. Ashley Mcgloster: Okay. Stacey Sweet: Yeah. Jeannette Jenkins: Personally. Stacey Sweet: Mm. Sara Ostrow: Yep. Stacey Sweet: Mm. Mm. Mm. Ashley Mcgloster: So what is it, what are the innovations with this? Got the L_C_D_ Jeannette Jenkins: Uh Ashley Mcgloster: screen. Jeannette Jenkins: Yeah automatic speech recognition. Ashley Mcgloster: Is that in this one though? Is this 'cause this is the Sara Ostrow: No, Ashley Mcgloster: Th th there Sara Ostrow: we Ashley Mcgloster: were Sara Ostrow: ha Ashley Mcgloster: different options we discussed then, we discussed the one that was in budget and the one that was out of budget. Stacey Sweet: We just diske discuss it as you designed it and then we Ashley Mcgloster: Okay. Stacey Sweet: will will Jeannette Jenkins: Yeah. Stacey Sweet: try Ashley Mcgloster: So Stacey Sweet: to Ashley Mcgloster: the cost Jeannette Jenkins: So Ashley Mcgloster: for these Stacey Sweet: get Ashley Mcgloster: were Stacey Sweet: it in the budget. Ashley Mcgloster: what was the cost for the first one? Eight Euros? Stacey Sweet: Eight. Jeannette Jenkins: Eight. Well actually we have yeah to check again yeah. Sara Ostrow: Yeah, eight Euros yeah. Ashley Mcgloster: And this one was Stacey Sweet: Yes. Jeannette Jenkins: Sixteen. Ashley Mcgloster: sixteen Sara Ostrow: Sixteen Ashley Mcgloster: Euros. Sara Ostrow: Euros. Ashley Mcgloster: Okay. So. Innovation for this one is two? One? Sara Ostrow: It's a two, I would say two. Ashley Mcgloster: Two? Jeannette Jenkins: W Stacey Sweet: Two. Jeannette Jenkins: W un to be one what would do we nee actually, yeah, I don't see Stacey Sweet: Why Jeannette Jenkins: okay, Stacey Sweet: it is Jeannette Jenkins: one Stacey Sweet: one. Jeannette Jenkins: would would be without buttons, Stacey Sweet: A man w w Ashley Mcgloster: Mm. Sara Ostrow: Yeah. Ashley Mcgloster: Well Stacey Sweet: Yes. Ashley Mcgloster: the Jeannette Jenkins: Bu Ashley Mcgloster: speech recognition is a very good innovation I believe Jeannette Jenkins: Yeah. Ashley Mcgloster: it, so Jeannette Jenkins: So maybe we can put Stacey Sweet: This Jeannette Jenkins: one. Stacey Sweet: this is it w with the speech recognition? Jeannette Jenkins: It's using speech recognition, Sara Ostrow: Okay yeah. Jeannette Jenkins: yeah. Stacey Sweet: Well. Gi given that Ashley Mcgloster: Give Stacey Sweet: that Ashley Mcgloster: it Jeannette Jenkins: Yeah, Stacey Sweet: it Ashley Mcgloster: a one? Stacey Sweet: works, Jeannette Jenkins: one, yeah. Ashley Mcgloster: Yep. Stacey Sweet: then it's I think one. Ashley Mcgloster: Okay. Ease of use? Sara Ostrow: Uh Jeannette Jenkins: So the first one is really standard, so Ashley Mcgloster: Mm. Jeannette Jenkins: everybody i including Sara Ostrow: He is used Jeannette Jenkins: our Sara Ostrow: to Jeannette Jenkins: grandmothers Sara Ostrow: it act Ashley Mcgloster: Yeah. Stacey Sweet: Mm. Jeannette Jenkins: can use it, right? Sara Ostrow: They are used to it Ashley Mcgloster: Yep. Sara Ostrow: actually. Ashley Mcgloster: So that's maybe a a two for ease of use. Jeannette Jenkins: Yeah. Sara Ostrow: Here there may Jeannette Jenkins: Um, the other one is quite easy, tho though. Sara Ostrow: Uh, though it has more functionality I think it shouldn't be for the user Ashley Mcgloster: Okay. Sara Ostrow: to learn it actually. Stacey Sweet: Hmm. Sara Ostrow: It shouldn't Ashley Mcgloster: So maybe Sara Ostrow: be diffi Ashley Mcgloster: a three or a four. Sara Ostrow: Uh yeah, actually in fact I think it will be Jeannette Jenkins: One Sara Ostrow: Yeah Jeannette Jenkins: Ashley Mcgloster um we hope maybe sometimes people get uh scared with the number of buttons. Ashley Mcgloster: Mm. Sara Ostrow: Yeah but Jeannette Jenkins: And Sara Ostrow: y Jeannette Jenkins: there is a like I would say three. Or maybe four. Ashley Mcgloster: Okay. Sara Ostrow: Well Ashley Mcgloster: Consensus? Sara Ostrow: we have reduced the keys Ashley Mcgloster: Three or Sara Ostrow: actually Ashley Mcgloster: four? Sara Ostrow: you see. Stacey Sweet: Three, I would. Sara Ostrow: Three Jeannette Jenkins: Yeah, Sara Ostrow: is fine Ashley Mcgloster: Three? Stacey Sweet: Three. Jeannette Jenkins: yeah Sara Ostrow: with Ashley Mcgloster: Okay. Sara Ostrow: Ashley Mcgloster. Jeannette Jenkins: because it's n uh it's not like a big one with uh one hundred buttons or Sara Ostrow: Yeah it's Jeannette Jenkins: so, Sara Ostrow: a actually Stacey Sweet: No. Sara Ostrow: the user has to put some effort to do use that actually, Ashley Mcgloster: Mm-hmm. Sara Ostrow: it's not so easy, Stacey Sweet: Yeah. Sara Ostrow: like this one the normal. Stacey Sweet: Yes but then when when he is used to it, i i it is quite easy. Sara Ostrow: Is quite easy yeah. Stacey Sweet: So Sara Ostrow: Initially Stacey Sweet: so I think Sara Ostrow: there Stacey Sweet: th Sara Ostrow: there Stacey Sweet: three Sara Ostrow: is Stacey Sweet: is Sara Ostrow: a lot of Stacey Sweet: good. Sara Ostrow: effort, Stacey Sweet: Yeah. Ashley Mcgloster: Okay. Sara Ostrow: yeah. Stacey Sweet: Good. What's the Ashley Mcgloster: So Stacey Sweet: next? Ashley Mcgloster: three's uh how well it goes to the target demographic. Sara Ostrow: Mm. Ashley Mcgloster: So Stacey Sweet: So Ashley Mcgloster: we're d we're still thinking twenty to forty year olds? Stacey Sweet: Twe twenty to forty, Ashley Mcgloster: That's Stacey Sweet: yes that's Jeannette Jenkins: This one would be uh for grandmothers. Ashley Mcgloster: Mm. Sara Ostrow: Oh no, this would I I would I Jeannette Jenkins: No. Sara Ostrow: would give this model to the old people actually. Jeannette Jenkins: Yeah, grandmothers, yeah. Sara Ostrow: Yeah. Stacey Sweet: Mm-hmm. Ashley Mcgloster: So sh Sara Ostrow: And Ashley Mcgloster: completely changed our demographic there, it's not part of the the funky young thing. Stacey Sweet: Well exce except Jeannette Jenkins: Yeah that's Stacey Sweet: for Jeannette Jenkins: true. Stacey Sweet: the surfing shape. I mean that's Jeannette Jenkins: Yeah. Stacey Sweet: that's something Ashley Mcgloster: Yeah. Stacey Sweet: which which has an appeal on this group I think, but Ashley Mcgloster: If it was the Jeannette Jenkins: Yeah. Ashley Mcgloster: very bottom price range or it was like between this and another one we did the same thing then I can imagine it being applying to the the demographic yeah. That's Stacey Sweet: Mm w Ashley Mcgloster: it's Stacey Sweet: w w Ashley Mcgloster: still Stacey Sweet: we after Ashley Mcgloster: Ye Stacey Sweet: this we can can consider uh for instance, making this more attractive to Ashley Mcgloster: Mm. Stacey Sweet: to the demographic Ashley Mcgloster: 'Cause we have got room, we've got some budget there to Stacey Sweet: Mm. Ashley Mcgloster: add a few things to it, that's right. Stacey Sweet: But as it is now, I w would say mm, six, something. Jeannette Jenkins: Yeah. Ashley Mcgloster: Mm-hmm. Sara Ostrow: Oh yeah, Stacey Sweet: Do you Ashley Mcgloster: And Stacey Sweet: agree? Sara Ostrow: I Well I Jeannette Jenkins: Yeah Sara Ostrow: think Jeannette Jenkins: it was written that it really so important, the um the the look and uh taking care of its it targets, the right range of people, right? Sara Ostrow: Yeah. Ashley Mcgloster: Mm. Sara Ostrow: Uh yeah but but if you sell it in the market it's going to be cheap, actually. Jeannette Jenkins: Yeah. But Ashley Mcgloster: But it's Jeannette Jenkins: w Sara Ostrow: So Ashley Mcgloster: going to be cheap whatever though, it was set with i we've Sara Ostrow: And Ashley Mcgloster: got Sara Ostrow: people Ashley Mcgloster: a set price. Sara Ostrow: can still decide to use the cheaper one Jeannette Jenkins: Yeah. Sara Ostrow: instead of a Jeannette Jenkins: But for us it's yeah we have a constraint that we need to sell at twenty five Stacey Sweet: Mm, Jeannette Jenkins: Euros. Ashley Mcgloster: Yeah. Stacey Sweet: yeah, Ashley Mcgloster: There's Stacey Sweet: indeed. Ashley Mcgloster: nothing that Stacey Sweet: Th Ashley Mcgloster: would Stacey Sweet: t Ashley Mcgloster: make Ashley Mcgloster Stacey Sweet: t Ashley Mcgloster: spend an extra k few Euros on that Jeannette Jenkins: Yeah. Ashley Mcgloster: one rather Stacey Sweet: Ju Ashley Mcgloster: than another Stacey Sweet: just Ashley Mcgloster: one. Stacey Sweet: think, twenty five Euros, I mean Sara Ostrow: Okay. Stacey Sweet: it's not going to be cheaper. Sara Ostrow: Okay. So Jeannette Jenkins: Yeah. Sara Ostrow: in that case well it's fine then. We can Stacey Sweet: Mm. Ashley Mcgloster: Okay. Sara Ostrow: yeah. Stacey Sweet: Mm. Okay. Ashley Mcgloster: Um and the demokraphi demographic of the second one? Sara Ostrow: And the demographics Ashley Mcgloster: It's got Sara Ostrow: of Ashley Mcgloster: the got the the toys in it, it's got the L_C_D_ Stacey Sweet: Yeah tha tha Ashley Mcgloster: screen Stacey Sweet: tha tha tha Ashley Mcgloster: and Stacey Sweet: that's I think it's better, because of Ashley Mcgloster: Mm. Stacey Sweet: the L_C_D_ screen which is really an appeal on the on the on the Ashley Mcgloster: Yeah. Stacey Sweet: on the and on the Jeannette Jenkins: Yeah. And if you want to target yeah if we we wish to to sell four millions of this, I think for this audience we need absolutely the L_C_D_ screen. Ashley Mcgloster: Mm-hmm. Stacey Sweet: Mm. So, the L_C_D_ screen uh attracts, Ashley Mcgloster: Yeah. Stacey Sweet: yes. Because Ashley Mcgloster: I think especially Stacey Sweet: it Ashley Mcgloster: if we're gonna n have an L_C_D_ screen on a low range product then that's good. Jeannette Jenkins: Yeah. Stacey Sweet: Mm, ma maybe that's something Ashley Mcgloster: Mm. Stacey Sweet: to consider, yes, Ashley Mcgloster: Okay. Stacey Sweet: so. Wh what what Ashley Mcgloster: I'd probably go with three again for that one. Sara Ostrow: Yeah I think it's uh Jeannette Jenkins: Or Sara Ostrow: it Jeannette Jenkins: even Sara Ostrow: has more market actually. Jeannette Jenkins: Even one and two. Ashley Mcgloster: Mm-hmm. Sara Ostrow: Y yeah, Stacey Sweet: No s Sara Ostrow: you know Jeannette Jenkins: Or two. Stacey Sweet: say Ashley Mcgloster: Okay. Stacey Sweet: t Sara Ostrow: two. Stacey Sweet: two. Ashley Mcgloster: So, two, Stacey Sweet: Two? Ashley Mcgloster: yeah? Jeannette Jenkins: Yeah. Two yeah. Sara Ostrow: Yeah two yeah. Because tomorrow this will be more appealing because you can add lot of sophistication on that. Ashley Mcgloster: Mm-hmm. Sara Ostrow: Because then you you have it uh d you Ashley Mcgloster: Yeah. Sara Ostrow: have lot of things which you can include Ashley Mcgloster: Yep. Sara Ostrow: for the people to Ashley Mcgloster: And especially I guess 'cause this has the speech recognition as well, and that makes it more appealing, it's more of a a new fun toy. Sara Ostrow: We have to practically test it. The field Ashley Mcgloster: Mm-hmm. Sara Ostrow: test will tell you Jeannette Jenkins: Yeah. Sara Ostrow: how Ashley Mcgloster: Okay. Sara Ostrow: good. Stacey Sweet: Okay, the final point, Ashley Mcgloster: And Sara Ostrow: The trends. Stacey Sweet: trends. Ashley Mcgloster: following the trends. So the trends were the fruit and vegetables and the spongy feel. Stacey Sweet: Mm. Mm. Ashley Mcgloster: So as it is, not really doing either of them. Stacey Sweet: I think Jeannette Jenkins: Spongy, uh, that means that it goes in in the water. Sara Ostrow: Mm-hmm. Ashley Mcgloster: Well, the spongy could be part of the the feel of the buttons as well, I know some have you tried the mobile phones that have got the kinda spongy buttons and not not exactly spongy but Jeannette Jenkins: Uh Ashley Mcgloster: I'm thinking Jeannette Jenkins: okay. Ashley Mcgloster: one of the Nokias that's got like you ca it hasn't got individual buttons it's got Stacey Sweet: Mm. Ashley Mcgloster: just a Sara Ostrow: Yeah Ashley Mcgloster: one Sara Ostrow: I Ashley Mcgloster: bit Sara Ostrow: know. Ashley Mcgloster: on it and so you can that feels kinda spongy. Jeannette Jenkins: But this one includes this feature, right? Spongy buttons. Sara Ostrow: Yeah. We Ashley Mcgloster: So Sara Ostrow: we Ashley Mcgloster: it's sort Sara Ostrow: we Ashley Mcgloster: of, Sara Ostrow: we Ashley Mcgloster: yeah. Sara Ostrow: we yeah, it's the way they are going Ashley Mcgloster: Mm. Sara Ostrow: to be, Jeannette Jenkins: So Sara Ostrow: actually. Ashley Mcgloster: Okay. Stacey Sweet: Mm. Jeannette Jenkins: Uh the maybe in the colour we can make it uh fruit and and veggie. Ashley Mcgloster: But that's if you're using the covers. Stacey Sweet: And the then Jeannette Jenkins: Yeah. Stacey Sweet: we can Ashley Mcgloster: Or Stacey Sweet: al Ashley Mcgloster: is it just Stacey Sweet: yes. Ashley Mcgloster: one Stacey Sweet: We can we can consider uh uh is it possible do you think, to to make a cover for s such a phone? I mean Ashley Mcgloster: Well they make it for mobiles, it can't be that much Sara Ostrow: But why Ashley Mcgloster: more Sara Ostrow: do Ashley Mcgloster: complicated. Sara Ostrow: you want to cover that actually? In that uh w in Stacey Sweet: Well Sara Ostrow: the mod Stacey Sweet: just with the with the flexible plastic uh Ashley Mcgloster: So you got the option of having different colours or different Jeannette Jenkins: Yeah. Ashley Mcgloster: textures. Jeannette Jenkins: This is possible. Stacey Sweet: I Sara Ostrow: Uh Stacey Sweet: th I th I think Sara Ostrow: uh y are you sure? Yeah I think yeah it should be possible like what we do with the mobile Stacey Sweet: O o Sara Ostrow: phone, Stacey Sweet: or Sara Ostrow: yeah. Stacey Sweet: just two things which can be put on each other. Ashley Mcgloster: Mm. Jeannette Jenkins: Yeah exactly like Nokia phones. Ashley Mcgloster: Mm. Stacey Sweet: Yes, Sara Ostrow: Yep. Stacey Sweet: exactly like it. Uh, so Maybe we can but we have to decide it, we can put the the the fancy f look of vegetables for instance, Ashley Mcgloster: Mm-hmm. Stacey Sweet: to to these covers and s now try to invest in the in in the features. Ashley Mcgloster: I think the if we do the cover that's really going with the company's philosophy of having the fashion in in electronics, it Stacey Sweet: Mm. Ashley Mcgloster: lets people have the latest fashion even next year when fruit and vegetables might be out, you'll still be able to put a new cover on Stacey Sweet: Mm Ashley Mcgloster: it and then Stacey Sweet: mm Ashley Mcgloster: it'll Stacey Sweet: mm Ashley Mcgloster: still Stacey Sweet: mm Jeannette Jenkins: Yeah. Stacey Sweet: mm. Ashley Mcgloster: be in fashion. Jeannette Jenkins: 'Cause sometimes look at this computer, th this laptop, it's all black, Ashley Mcgloster: Mm. Jeannette Jenkins: and uh it's quite conventional, and sometimes people don't like too much flashy colours like Ashley Mcgloster: Mm. Jeannette Jenkins: this one presented here. Ashley Mcgloster: Mm. Jeannette Jenkins: So maybe we could do like in the range the set of Ashley Mcgloster: Mm. Jeannette Jenkins: what we propose a black one, Ashley Mcgloster: Yep. Stacey Sweet: Mm-hmm. Jeannette Jenkins: very Stacey Sweet: Mm-hmm. Jeannette Jenkins: standard one, Ashley Mcgloster: Yep. Jeannette Jenkins: that meets the the requirements of th such people that want really standard Ashley Mcgloster: Mm. Jeannette Jenkins: uh things. Stacey Sweet: Mm. Mm. Ashley Mcgloster: And then you have the option of having the different colours, Stacey Sweet: Yes. Ashley Mcgloster: different Stacey Sweet: So Ashley Mcgloster: covers. Jeannette Jenkins: Yeah. Stacey Sweet: so so that that would make the trends equal, so we we we really have Ashley Mcgloster: Mm. Stacey Sweet: don't Ashley Mcgloster: There's Stacey Sweet: have, Ashley Mcgloster: n yeah. 'Cause Stacey Sweet: I Ashley Mcgloster: that's Stacey Sweet: mean Ashley Mcgloster: the that's the feature that could be included in either of them. Stacey Sweet: Mm. Ashley Mcgloster: Although it is more with the spongy buttons on the um Jeannette Jenkins: Yeah, Stacey Sweet: Yes, Ashley Mcgloster: on Jeannette Jenkins: so Ashley Mcgloster: the other Stacey Sweet: indeed. Jeannette Jenkins: a Ashley Mcgloster: one. Jeannette Jenkins: a point better for the Ashley Mcgloster: Okay. So. Jeannette Jenkins: for the number two. Ashley Mcgloster: Two and three, or one and two? Stacey Sweet: Yes. Sara Ostrow: Yeah, it's Stacey Sweet: Say, say one and two. One Sara Ostrow: one. Ashley Mcgloster: Mm-hmm. Stacey Sweet: and two. Jeannette Jenkins: Okay. Stacey Sweet: So le le let's see. So d this Ashley Mcgloster: Okay. Stacey Sweet: one has spongy but buttons? Sara Ostrow: Yeah, it Jeannette Jenkins: Yeah, Sara Ostrow: says Jeannette Jenkins: the blue Sara Ostrow: a Jeannette Jenkins: one uh spongy. Stacey Sweet: Mm, I see, yes okay. Ashley Mcgloster: Okay so the average Stacey Sweet: Good. Ashley Mcgloster: of that is three six nine divided by five, so Stacey Sweet: Just add Ashley Mcgloster: five Stacey Sweet: it. Jeannette Jenkins: Nine. Stacey Sweet: You know. Sara Ostrow: One Ashley Mcgloster: mm Sara Ostrow: point Stacey Sweet: Three, Sara Ostrow: six, Stacey Sweet: six, Sara Ostrow: one Ashley Mcgloster: nine Sara Ostrow: point Ashley Mcgloster: by five, Stacey Sweet: seven. Ashley Mcgloster: one point s eight? Sara Ostrow: One point eight yeah. Ashley Mcgloster: This one, eleven thirteen nineteen twenty one, Sara Ostrow: Four point Ashley Mcgloster: divided by five is four point two yep. Sara Ostrow: Uh four point two. Jeannette Jenkins: Very good. Ashley Mcgloster: Okay. But we still got a very different price for those two so they're Stacey Sweet: Mm-hmm. Ashley Mcgloster: not really comparable yet anyway. Stacey Sweet: We we must Jeannette Jenkins: Yeah, it's right, Stacey Sweet: try to Jeannette Jenkins: yeah Stacey Sweet: get them Jeannette Jenkins: that's Stacey Sweet: closer. Jeannette Jenkins: right. Ashley Mcgloster: Yep. Stacey Sweet: Both Sara Ostrow: Wow. Stacey Sweet: in i i or we just have to choose. And adapt. Because, Ashley Mcgloster: Yep. Stacey Sweet: when we choose for this one we have to we have to make it more attractive Ashley Mcgloster: Mm-hmm. Stacey Sweet: and w when we to d for this one we have to make it more cheap. Ashley Mcgloster: Well it's easier to just make that one cheaper by just taking the speech recognition out. That'll basically take us down Stacey Sweet: Yes, Ashley Mcgloster: to Stacey Sweet: well Ashley Mcgloster: the budget. Stacey Sweet: But I'm now did y did you work with the same prices that I have here? Jeannette Jenkins: So I I give yeah I just give a call with the manufacturer uh and uh I explained them and they told Ashley Mcgloster Stacey Sweet: Mm. Jeannette Jenkins: this could be possible for sixteen Fr Euros. Uh unfortunately we didn't see this chip, Sara Ostrow: Yeah. Jeannette Jenkins: uh Sara Ostrow: Yep. Jeannette Jenkins: Matthew, Stacey Sweet: Mm, Jeannette Jenkins: so maybe Stacey Sweet: tha Jeannette Jenkins: we have to recap with this one. Sara Ostrow: Maybe we ought to reconsider everything with this, yeah. Stacey Sweet: Well yes, well uh re reconsider it. So let's let's try to to model this this Sara Ostrow: Mm-hmm. Stacey Sweet: phone in this sheet, uh what kind of energy source uh I I we didn't speak about that. It's a it's a normal battery, or Sara Ostrow: Yeah, it migh It it'll need uh more than a conventional one, it won't be uh just maybe you might use a A_A_ battery actually. What do you say, Mael? Jeannette Jenkins: For this one it's a normal battery. Stacey Sweet: Yes. Just so one battery. 'Kay. Electronics. given speech recognition I think w you should go for the less fancy chip. Sara Ostrow: Yeah. Jeannette Jenkins: Uh sample speaker, Stacey Sweet: Yeah, Jeannette Jenkins: yeah. Stacey Sweet: yes, or sample sensor, yes. Jeannette Jenkins: Sample, yeah, this one. Stacey Sweet: Yes, this one. Okay. Case? Um, Jeannette Jenkins: So Sara Ostrow: Curved. Double curved yeah right. It's uh Stacey Sweet: I see I Double Ashley Mcgloster: Mm. Stacey Sweet: curve. Ashley Mcgloster: Yeah, it's gonna be more than just the biggest case, definitely. Jeannette Jenkins: So Stacey Sweet: Mm. Jeannette Jenkins: which one are we talking to? Sara Ostrow: Are you talking about this or Jeannette Jenkins: Well Sara Ostrow: that? Ashley Mcgloster: Either Stacey Sweet: Oh Ashley Mcgloster: of them. Stacey Sweet: yes, we are talking about, Sara Ostrow: Mm-hmm. Stacey Sweet: but they have the same shape, but, Ashley Mcgloster: Mm. Jeannette Jenkins: Yeah. Stacey Sweet: actually Ashley Mcgloster: They're both Stacey Sweet: bu Ashley Mcgloster: going to be not basic cases. Stacey Sweet: So th th this would be double curves? Ashley Mcgloster: Mm-hmm. Sara Ostrow: Yeah. Stacey Sweet: 'Kay. Uh, plastic would Ashley Mcgloster: Yeah. Stacey Sweet: be the Ashley Mcgloster: The basic one, Stacey Sweet: material. Ashley Mcgloster: yep. Jeannette Jenkins: Is it zero Franc? Sara Ostrow: A special colour? Stacey Sweet: Uh special colour, now we leave it to the covers. Sara Ostrow: Uh Ashley Mcgloster: So now we're either going Stacey Sweet: Push. Ashley Mcgloster: button or L_C_D_s, L_C_D_ display. Stacey Sweet: Mm, yes, but Jeannette Jenkins: L_C_D_ is. It's okay. Just say L_C_D_. Ashley Mcgloster: Is that price per unit, or for the whole Stacey Sweet: Yeah Sara Ostrow: Ah Stacey Sweet: th Ashley Mcgloster: thing? Sara Ostrow: good. Stacey Sweet: now this is per per unit, Ashley Mcgloster: So Stacey Sweet: this Ashley Mcgloster: it Stacey Sweet: number Ashley Mcgloster: would Stacey Sweet: of Ashley Mcgloster: need Stacey Sweet: components. Ashley Mcgloster: twelve Sara Ostrow: Yeah, Ashley Mcgloster: buttons. Sara Ostrow: we might need a scroll wheel, right, for that? Jeannette Jenkins: No but for this one it's twelve Sara Ostrow: No, Jeannette Jenkins: Euro. Sara Ostrow: for that one also. Jeannette Jenkins: There are twelve? Stacey Sweet: So, Sara Ostrow: Yeah that's a scroll. Stacey Sweet: one, two, three, four, five, six, seven, eight, nine, t Yes. Twelve I believe. So this comes to eighteen. Ashley Mcgloster: Mm. And that's without any special button supplements. Sara Ostrow: Yeah, one scroll wheel you might need. Stacey Sweet: So Ashley Mcgloster: So we'd have a special colour, special form and special material on all of them. They're not just Sara Ostrow: Uh Ashley Mcgloster: standard buttons. Stacey Sweet: So I think but th do you agree Jeannette Jenkins: Wait a Stacey Sweet: th Jeannette Jenkins: minute, Stacey Sweet: that Jeannette Jenkins: it's Stacey Sweet: thi Jeannette Jenkins: not it's not double curved, it's single curved, right? Because it's there is no like. Stacey Sweet: Yes Ashley Mcgloster: But Stacey Sweet: I Ashley Mcgloster: I thought it would be curved on two it's like it's curved on the sides and curved on the top and bottom Stacey Sweet: Yes Ashley Mcgloster: as Stacey Sweet: I'm Ashley Mcgloster: well, Stacey Sweet: I'm Ashley Mcgloster: that's Stacey Sweet: no Ashley Mcgloster: what Stacey Sweet: I'm Ashley Mcgloster: I thought. Stacey Sweet: no I'm not sh sure. Jeannette Jenkins: Well it's Stacey Sweet: Yes I kno undes I understand Jeannette Jenkins: you know Stacey Sweet: what you mean, Jeannette Jenkins: this Stacey Sweet: yes. Jeannette Jenkins: curve like this so, it's w there is only is is is there is nothing like y you know in the other stuff Ashley Mcgloster: You talking about Jeannette Jenkins: there Ashley Mcgloster: concave Jeannette Jenkins: are Stacey Sweet: Uh-huh. Jeannette Jenkins: yeah concave. Ashley Mcgloster: curves? Jeannette Jenkins: So I Stacey Sweet: Both. Jeannette Jenkins: think we can put um Ashley Mcgloster: You think a single curved? Jeannette Jenkins: the single curved in the sixteen. That makes uh seventeen. And what are just The bt buttons, we have twelve buttons, are you sure? Yeah. Ashley Mcgloster: Mm. Stacey Sweet: Yes. Uh Ashley Mcgloster: We have more, we've got those the scroll Jeannette Jenkins: So Ashley Mcgloster: wheel on the side Jeannette Jenkins: I had a Ashley Mcgloster: and Jeannette Jenkins: bad uh Ashley Mcgloster: yeah Sara Ostrow: Bad estimate, Stacey Sweet: W d Sara Ostrow: right? Ashley Mcgloster: The sc Jeannette Jenkins: bad estimation. Stacey Sweet: we have we haven't talk about a, but that's no a is very exp inexpensive Ashley Mcgloster: Mm. Stacey Sweet: I believe but it is not in the list. Ashley Mcgloster: We've got a scroll wheel for the volume don't we, or is it some other thing that's not on there. Stacey Sweet: W ho h is this a scroll wheel or is this a a a sort Jeannette Jenkins: No no Stacey Sweet: of Jeannette Jenkins: no. Stacey Sweet: button which can be pressed on two sides uh so for higher and lower? Ashley Mcgloster: 'Kay we've only got five minutes left guys so we need to wrap it up pretty fast. Jeannette Jenkins: Yes, a kind of scroll wheel. Ashley Mcgloster: So this is even more than the um Stacey Sweet: Mm. Ashley Mcgloster: than the cost you gave, the sixteen Euros. Stacey Sweet: Mm-hmm. Jeannette Jenkins: Okay, so based on that, yeah, um where is the es okay sample speaker Sara Ostrow: That is the sample sensor and sample speaker. Stacey Sweet: So um Jeannette Jenkins: But still, yeah Sara Ostrow: We just Jeannette Jenkins: it Sara Ostrow: need that actually. Stacey Sweet: We're Sara Ostrow: We need one. Stacey Sweet: We We could go for the for the for the for the for a simple chip, but then we can't have the the speech recognition, yes? Yes? Jeannette Jenkins: No we cannot, yeah. Stacey Sweet: So so Jeannette Jenkins: So Sara Ostrow: S Stacey Sweet: w when we w a Jeannette Jenkins: But the Stacey Sweet: this Jeannette Jenkins: um Stacey Sweet: would this would be cutting the speech recognition. Jeannette Jenkins: Yeah but if you have the near the L_C_D_ you can um choose select between um you know like uni universal between audio, T_V_ and V_C_R_, and this needs a needs a advanced chip. Stacey Sweet: Transti Jeannette Jenkins: Right, Matthew? Sara Ostrow: Oh I i Jeannette Jenkins: Or Sara Ostrow: it Jeannette Jenkins: regular chip? Sara Ostrow: I think it's going Jeannette Jenkins: I think Sara Ostrow: to be y Jeannette Jenkins: yeah regular, Sara Ostrow: y yeah Jeannette Jenkins: today Sara Ostrow: it's th Jeannette Jenkins: we you can do that Stacey Sweet: Say Jeannette Jenkins: with Sara Ostrow: with Jeannette Jenkins: regular Sara Ostrow: the regular Jeannette Jenkins: chip. Sara Ostrow: chip, Stacey Sweet: say Sara Ostrow: yeah. Stacey Sweet: it's regular, Jeannette Jenkins: Yeah. Okay. Stacey Sweet: regular chip, Jeannette Jenkins: Okay. Stacey Sweet: and we still Sara Ostrow: Yeah. Stacey Sweet: on fifteen, so Jeannette Jenkins: So. And what about the number of buttons buttons uh Stacey Sweet: Yes but that maybe Jeannette Jenkins: my Stacey Sweet: Well we can just say Jeannette Jenkins: Matthew? Sara Ostrow: Uh Stacey Sweet: one. Jeannette Jenkins: When you look at this w, this u uh item, Sara Ostrow: Yeah. Stacey Sweet: Ca l we are just Jeannette Jenkins: But Stacey Sweet: when we just want to uh to cut the number of buttons we have to make seven to to fit in in twelve twelve fifty. So is it possible? Ashley Mcgloster: But that's seven basic buttons right, seven buttons without any adds-on, without special colours or form or material. Sara Ostrow: That'll Stacey Sweet: Mm-hmm. Sara Ostrow: be then we have uh have to ask the user to press it several Jeannette Jenkins: You Sara Ostrow: times. Jeannette Jenkins: cannot make a phone to your boss saying twelve fifty is really Stacey Sweet: No no, he Jeannette Jenkins: really Stacey Sweet: he Jeannette Jenkins: low, Ashley Mcgloster: Well Stacey Sweet: he Jeannette Jenkins: no? Stacey Sweet: I I Ashley Mcgloster: So the L_C_D_ display is is three Francs, sorry three Euros, Stacey Sweet: Mm-hmm. Ashley Mcgloster: by itself. Jeannette Jenkins: And uh we don't want to to change that right? We Sara Ostrow: Uh Jeannette Jenkins: we really want a L_C_D_ other Stacey Sweet: Mm-hmm. Jeannette Jenkins: otherwise we w wouldn not get the market. Stacey Sweet: Otherwise y Jeannette Jenkins: It's evident. Stacey Sweet: you ha you have a s ve very normal uh thing like this. Jeannette Jenkins: Yeah. Ashley Mcgloster: Mm. So Jeannette Jenkins: And I Ashley Mcgloster: twelve Jeannette Jenkins: dunno Ashley Mcgloster: Euro fifty, we got two off of the battery, we can't do anything about that, so ten fifty, if we want an L_C_D_ dispra display, that's seven fifty um, so we've got seven fifty to use for the case and for the buttons. Stacey Sweet: Mm. Ashley Mcgloster: And the chip. Sorry the chip's up there already. Stacey Sweet: Mm-hmm, mm-hmm. Ashley Mcgloster: So we're gonna have to scale this down to get within budget, there's no doubt about that. Stacey Sweet: A Jeannette Jenkins: So wha what what each of us think about the because it's measure point the L_C_D_, um Do you think it's important? Sara Ostrow: Or we could even replace them by buttons actually. Jeannette Jenkins: Because sometimes whe when you watch the T_V_ in fact, you have a big display and maybe you don't need one more in your hands? I dunno, I'm just Sara Ostrow: A actually Stacey Sweet: Mm Ashley Mcgloster: Mm. Sara Ostrow: it depends, Jeannette Jenkins: asking. Sara Ostrow: it depends what kind of functionalities you want to add into it, Ashley Mcgloster: Yep. Sara Ostrow: for example if you add two more functionalities then better you add two more buttons, or Ashley Mcgloster: Mm. Sara Ostrow: and you'll have L_C_D_ display Ashley Mcgloster: Yeah. Sara Ostrow: which is that is going to bring the cost by Ashley Mcgloster: I Sara Ostrow: two Ashley Mcgloster: think, Sara Ostrow: two Euros at least. Ashley Mcgloster: unless we can really drive these prices down we need to get rid of the L_C_D_ display. Sara Ostrow: Okay so we can Jeannette Jenkins: Yeah, Sara Ostrow: get Jeannette Jenkins: it's Sara Ostrow: rid Jeannette Jenkins: true Sara Ostrow: of it Jeannette Jenkins: yeah. Sara Ostrow: and then add Jeannette Jenkins: But uh, Sara Ostrow: a couple of buttons. Jeannette Jenkins: do we want that? On the market point of view, yeah. What do you think uh, L_C_D_ is a major feature, Stacey Sweet: Mm. Jeannette Jenkins: or? Stacey Sweet: I Ashley Mcgloster: For the price, it's gonna be what we can afford, and it's looking like we can't afford the L_C_D_ display, there's no way we can get it in there. Stacey Sweet: I think we have to come to a decision Ashley Mcgloster: Mm. Stacey Sweet: now, just I I think we we what we just do i is vote about the uh the L_C_D_ Ashley Mcgloster: Mm-hmm. Stacey Sweet: uh display so Jeannette Jenkins: You assume, you want a democratic voyt vote, right? Stacey Sweet: Yes. Jeannette Jenkins: Okay. Stacey Sweet: Yes. Yes. Jeannette Jenkins: Okay. Stacey Sweet: One man one vote. S so who thinks the the L_C_D_ disply display should be i should be in it? Ashley Mcgloster: I th I'd like t it to be in but I can't see it happening. I can't Stacey Sweet: Mm. Ashley Mcgloster: see it fitting in. Stacey Sweet: Mm-hmm mm-hmm. Sara Ostrow: I think but Jeannette Jenkins: We Ashley Mcgloster: Bu y Jeannette Jenkins: need to Ashley Mcgloster: you're Jeannette Jenkins: be. Ashley Mcgloster: a power voter uh veto anyway as Project Stacey Sweet: Mm-hmm, Ashley Mcgloster: Manager. Stacey Sweet: I know, Jeannette Jenkins: Yeah. Stacey Sweet: but Sara Ostrow: Yeah but the only thing is that what is the multiple functionalities you want to include with that. Ashley Mcgloster: well we have to make a decision now, that's Sara Ostrow: Yeah. Ashley Mcgloster: it. Stacey Sweet: Yes. So uh uh having an L_C_D_ s display is just uh uh have very very limited amount of buttons. Is that acceptable? Ca can I have can the functions be implement in an Jeannette Jenkins: Yes. Stacey Sweet: You've you you agree. Sara Ostrow: W I I Stacey Sweet: So hav Sara Ostrow: I just Stacey Sweet: hav having seven buttons, instead of twelve. Sara Ostrow: Yeah. Stacey Sweet: So that wou would be cutting cutting suh say about these buttons. Jeannette Jenkins: Because one yeah th show Ashley Mcgloster that uh actually we could in fact we move these three buttons and have three uh possibilities for each of the three here. Stacey Sweet: Mm. Jeannette Jenkins: Here one, at the middle, and at the Ashley Mcgloster: Mm. Jeannette Jenkins: bottom. Ashley Mcgloster: I think then we we're really losing ease of use. Jeannette Jenkins: Okay, Sara Ostrow: That will create another problem. For the people to use it. It's not going to be easy. Ashley Mcgloster: Okay. Jeannette Jenkins: Okay. Stacey Sweet: Mm. Sara Ostrow: Doing that. Stacey Sweet: So um I I think we should we should cut the L_C_D_ screen. That that's that's my opinion. Sara Ostrow: No, it's okay, you uh cut Stacey Sweet: Just Sara Ostrow: the L_C_D_ screen and introduce two more buttons. Ashley Mcgloster: Okay. So L_C_D_'s out, is speech rec out now? We've Jeannette Jenkins: The speech recognition is out. Ashley Mcgloster: Yep. Stacey Sweet: Uh where, L_C_ Jeannette Jenkins: Because of the budget, yeah. Ashley Mcgloster: Yep. Stacey Sweet: Okay w we now we can just uh Ashley Mcgloster: So are we basically back to the original one now, back to the first version? Which turns out to be on budget exactly, pretty much. Sara Ostrow: Yeah. Ashley Mcgloster: With these new costings. Jeannette Jenkins: Yes. Ashley Mcgloster: So just look at forget that one and look at that one now. Stacey Sweet: Yes. Jeannette Jenkins: Yeah. Stacey Sweet: Yes. I th I th I think w we just go for this one and that Ashley Mcgloster: Mm. Stacey Sweet: that now twelve Euros is the Ashley Mcgloster: Yep. Stacey Sweet: is is the price, okay. Ashley Mcgloster: Okay. Stacey Sweet: My m my Ashley Mcgloster: Well that's Stacey Sweet: supervisor Ashley Mcgloster: that's Stacey Sweet: will be glad that it's fifty cents Ashley Mcgloster: Yep. Stacey Sweet: cheaper than Jeannette Jenkins: Actually Stacey Sweet: he Jeannette Jenkins: yeah, Stacey Sweet: expected. Jeannette Jenkins: we we Ashley Mcgloster: So. Jeannette Jenkins: we will not need the really uh expert designers Ashley Mcgloster: Mm. Sara Ostrow: Yeah. Jeannette Jenkins: um because the amount, yeah. Ashley Mcgloster: Yep. Stacey Sweet: Okay. Ashley Mcgloster: So w we can go back and l talk to the suppliers maybe and see if we can drive the prices down to add a few more things in but that's all we can do with the restrictions we have at the moment. Stacey Sweet: Okay, good. Then we the same. Thank you. Sara Ostrow: Okay. Stacey Sweet: That was it. Ashley Mcgloster: Mm-hmm. Sara Ostrow: That's it. Jeannette Jenkins: Thanks. Sara Ostrow: Cool. Ashley Mcgloster: Okay.

As the meeting opens Stacey Sweet tells the group that they must stay within the budget of twelve Euro and fifty cents or will have to redesign. After Matthew arrives the designers begin presenting the two prototypes, beginning with the basic conventional one which is shaped like a surfboard and costs 7 or 8 Euros to produce. It contains an on-off button, volume switch, up/down channel function, 10 digits, and two extra buttons for teletext and an additional function. The next control is futuristic because feels like a mobile phone, has 6 keys, and is smooth. It also has a power button, channel up/down, slow pause/slow stop, LCD screen, toggle switch that changes it from audio to video, and microphone. It would cost 16 Euros to produce, which is out of the budget. Ashley Mcgloster gives the product evaluation and they rate them on look and feel, innovation, ease of use, appeal to the correct demographic, and adherence to the company motto and fashion trends. They discuss the energy source, shape, chip type, LCD and speech recognition, and additional buttons. After choosing features their remote costs 12 Euros to produce. They close the meeting by thanking one another.

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Shannon Groom: How do you wear this thing? Diana Porter: Hmm. Mm mm mm. Shannon Groom: Not many stuff. Shannon Groom: Original. Diana Porter: 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 Shannon Groom: 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 Diana Porter: sorry? Shannon Groom: It's true. I have another meeting so if you could uh Diana Porter: You have another meeting soon? Shannon Groom: Yeah. Diana Porter: So you have to be quick. Shannon Groom: Yeah, for the lawnmower project. Diana Porter: Okay. Shannon Groom: Okay. Diana Porter: 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. Shannon Groom: What an original idea. Diana Porter: Do you have any idea of which animal you want to show us? Shannon Groom: Orangutan. Diana Porter: Okay that's good. Estella Kuipers: No no Diana Porter: n Estella Kuipers: n Diana Porter: n You Shannon Groom: no? Diana Porter: should Shannon Groom: But I don't have to say anything. When I'm drawing the orangutan. Diana Porter: If you want to react uh about this wonderful drawing uh I'll let you uh comment. Shannon Groom: It's an abstract drawing of an orangutan. Diana Porter: Okay it's an abstract drawing. Shannon Groom: Yes. Diana Porter: I think it's nice and original. Estella Kuipers: You y the name Shannon Groom: I don't Estella Kuipers: I think. Shannon Groom: have a red colour. Usually orangutans have red hair so this is a very important but I don't have red pen, so Diana Porter: Okay. Shannon Groom: Yes. Diana Porter: You want to draw something Christine? Mary Wachter: Okay uh sorry. You This Diana Porter: Of course your animal is recorded so it's not lost. Shannon Groom: Yes. I know. Mary Wachter: Sorry too uh. Diana Porter: Is Shannon Groom: Wha Diana Porter: this uh Shannon Groom: what Mary Wachter: Is it beautiful? Shannon Groom: is this strange beast? Is it a monster? Mary Wachter: Do you know? It's a cat. Shannon Groom: It's a cat? Mary Wachter: Isn't it? Shannon Groom: I thought these things did not exist. Mary Wachter: Yes Estella Kuipers: Mary Wachter Mary Wachter: yes is it like that. Is Estella Kuipers: Ah Shannon Groom: Ah Estella Kuipers: yeah. Mary Wachter: it better? Diana Porter: Ah okay Shannon Groom: yeah Estella Kuipers: Yeah. Diana Porter: it's pretty. Mary Wachter: Okay. It's my cat. Diana Porter: Okay it's your cat. Shannon Groom: Does Mary Wachter: Yeah. Shannon Groom: have a name? Mary Wachter: The name is Caramel. Shannon Groom: Caramel. Estella Kuipers: Caramel. Shannon Groom: Ah-ha. Mary Wachter: Yeah. Diana Porter: Okay. Olivier, Estella Kuipers: And you Diana Porter: do you want to Estella Kuipers: I think I'm too short for the cables. Diana Porter: Okay I go, but next time you'll do something I'm sure. Shannon Groom: Next time I concentrate. Diana Porter: 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 Shannon Groom: He looks like a bong. Diana Porter: Like a what? Shannon Groom: Okay. Sorry. No. Estella Kuipers: Quite squarey. Shannon Groom: Scary? Estella Kuipers: He also. Diana Porter: I dunno it it looks more like a donkey in fact I would say. Estella Kuipers: Mm. Shannon Groom: I I think we will Diana Porter: Okay Shannon Groom: be finished Diana Porter: so Shannon Groom: this uh Diana Porter: I hope that it helps you uh in the process of designing Shannon Groom: Is it Diana Porter: a Shannon Groom: for Diana Porter: remote Shannon Groom: uh Diana Porter: control. Shannon Groom: for putting a for logos, no. That's Diana Porter: 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. Shannon Groom: I is there a matter for a new remote control? Diana Porter: Yeah if it's trendy, original I d fulfil Shannon Groom: Is it uh Diana Porter: the user Shannon Groom: a Diana Porter: needs. Shannon Groom: single device remote control or is it a multi-device remote control? Diana Porter: We have to discuss that point. Shannon Groom: Ah this is not Diana Porter: On Shannon Groom: defined at all? Diana Porter: yeah you you can suggest points like Shannon Groom: Ah, Diana Porter: this. So Shannon Groom: okay. Diana Porter: 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 Shannon Groom: Well uh Diana Porter: from Shannon Groom: do we sell Diana Porter: the marketing Shannon Groom: other stuff? Diana Porter: side? Shannon Groom: 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. Diana Porter: Okay, so if it selled uh by its own i it it would rather be for multiple device. Shannon Groom: Yeah. Diana Porter: Do you agree? Estella Kuipers: Mm-hmm. Diana Porter: 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? Estella Kuipers: I think we shouldn't have too many b for Shannon Groom: No, Estella Kuipers: my part. Shannon Groom: I Estella Kuipers: I Shannon Groom: couldn Estella Kuipers: think Shannon Groom: I cannot fi think of any requirements right now. Estella Kuipers: If we don't have so many buttons could be nice. Diana Porter: 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. Estella Kuipers: Yeah. Diana Porter: 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? Shannon Groom: Mm. Diana Porter: With rou okay. Like for okay. Shannon Groom: Something like that, least fits in your hand. Estella Kuipers: Yeah. Diana Porter: Okay. Shannon Groom: Yeah. The basic requirement. Diana Porter: So. Fit in your hand, yeah. Shannon Groom: Only a buck. Diana Porter: 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 Estella Kuipers: Mm-hmm. Diana Porter: that can happen Shannon Groom: Waterproof. Diana Porter: if it fall. Water-proof as well. Estella Kuipers: And I Diana Porter: Maybe Estella Kuipers: think we Diana Porter: it Estella Kuipers: should Diana Porter: is original Estella Kuipers: have a device Diana Porter: because you can uh use it in your uh in your bath whereas the others can't. Maybe water-proof would be very original. Estella Kuipers: Sorry. Diana Porter: Havin having a water-proof remote control so that the people can uh use it in their bath. Shannon Groom: Mm. Diana Porter: That could Shannon Groom: B it Diana Porter: be Shannon Groom: seems Diana Porter: uh Shannon Groom: 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 Diana Porter: Yeah Shannon Groom: f Diana Porter: but, it is still something uh you have to buy and that is um Shannon Groom: And, and Diana Porter: not Shannon Groom: that's one Diana Porter: maybe Shannon Groom: of the Diana Porter: very Shannon Groom: 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. Diana Porter: Yeah, Shannon Groom: That's Diana Porter: mayb Shannon Groom: people they actually Diana Porter: B Shannon Groom: do it themselves. Diana Porter: But maybe we can bulk it with uh already this plastic thing Estella Kuipers: Yeah. Diana Porter: and uh the waterproof Estella Kuipers: directly. Diana Porter: uh Shannon Groom: I it Diana Porter: stuff Shannon Groom: will look Diana Porter: as Shannon Groom: a Diana Porter: well. Shannon Groom: bulky in that case. Diana Porter: Yeah. Estella Kuipers: Yeah. Diana Porter: 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. Shannon Groom: Like as an optional thing. Diana Porter: Optional or selled Estella Kuipers: And I I think we Diana Porter: with Estella Kuipers: should Diana Porter: it? Estella Kuipers: have something, most of the time I I lose my remote control. We should have Diana Porter: Yeah. Estella Kuipers: s uh special bu button on the T_V_ Diana Porter: Maybe we Estella Kuipers: to Diana Porter: can Estella Kuipers: make Diana Porter: have uh Estella Kuipers: the remote control beeping. Diana Porter: But we don't design the T_V_. Estella Kuipers: Ah Diana Porter: Maybe we Estella Kuipers: yeah. Diana Porter: can have uh something you whistle and uh the remote control uh beep. Estella Kuipers: Yeah. Shannon Groom: Barks. Diana Porter: Yeah, Estella Kuipers: Barks. Diana Porter: barks, yeah. So we can uh have a whistle uh remote control? Estella Kuipers: Yeah. Yeah whistle. Diana Porter: I don't know, whistle-able? Estella Kuipers: Whistle Diana Porter: Th Estella Kuipers: tracking. Diana Porter: Whistle tracking yeah. Whistle tracking remote control. That's a good idea, that's very original and that's can Shannon Groom: That's that's Diana Porter: uh improve. Shannon Groom: quite cool, but uh of course we you don't normally need uh any audio uh recording stuff on your remote control right? Diana Porter: Yeah d d Shannon Groom: So Diana Porter: uh. Shannon Groom: i it's just going to add t to the cost. Diana Porter: Yeah but s still we have to mm we have to have an advantage over our competitors. I think this is a good advantage. Shannon Groom: It's cool. I think I like the idea, but I'm not sure about the what you, who Diana Porter: Yeah. Shannon Groom: is giving who's Diana Porter: We have Shannon Groom: giving Diana Porter: to Shannon Groom: who's Diana Porter: ask Shannon Groom: giving our budget. Who's Diana Porter: Yeah. We have to ask the quest of Shannon Groom: Yeah. Diana Porter: that's uh design to Shannon Groom: Yeah. Diana Porter: the uh Industrial um Designer. Estella Kuipers: Yeah. Diana Porter: Which is Shannon Groom: 'Kay. Diana Porter: you. Estella Kuipers: yeah Diana Porter: Okay so try to find that for next meeting. Estella Kuipers: Okay. Diana Porter: Okay. So next meeting is in thirty minutes or so uh. Estella Kuipers: Don't panic. Diana Porter: Don't pani. So so I will ask Estella Kuipers to find out more about this industrial design Estella Kuipers: Mm-hmm. Diana Porter: 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 Shannon Groom: Mm-hmm. Diana Porter: 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. Shannon Groom: Mm. Diana Porter: So. Thank you I think that's Shannon Groom: Good. Estella Kuipers: Mm-hmm. Diana Porter: all for this point. Mary Wachter: Thank you Shannon Groom: Uh, so we come back in five minutes? Half an hour. Diana Porter: Anyway you will receive some messages. Diana Porter: 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. Estella Kuipers: Ah.

Diana Porter 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. Diana Porter 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. Diana Porter then instructed Shannon Groom 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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Clemencia Bennett: Okay. Holly Holland: Okay everyone's ready. Robin Dooley: Hello. Holly Holland: 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? Clemencia Bennett: F do you want to start Robin Dooley: Make a start yeah. Holly Holland: You can start. Robin Dooley: So Cable, camera. Holly Holland: You have uh PowerPoint? Robin Dooley: Should be in my in their folder no? Holly Holland: Ah yeah maybe there. Robin Dooley: Up. Holly Holland: Okay. Who are you? Robin Dooley: Um at three I think. No? Mm. Holly Holland: Ouch. And Clemencia Bennett: Okay. Holly Holland: We have a technical problem uh. Robin Dooley: Do we think w s in the in the wrong folder maybe? It is possible. Holly Holland: You put Clemencia Bennett: No. Holly Holland: it on Robin Dooley: It was somewhere in something like this. I don't remember the name actually must be something like messenger AMI or something. Clemencia Bennett: What do you have in short cut? Robin Dooley: Go up. Clemencia Bennett: Participant two. Robin Dooley: Yeah go up. Holly Holland: Yeah. Robin Dooley: Again. No. Go back. Holly Holland: You have no Robin Dooley: Uh maybe messenger Messenger. Holly Holland: Over. Okay. Robin Dooley: No. There is nothing. Holly Holland: There's no We have a Robin Dooley: Let's Holly Holland: technical Robin Dooley: go and check. Holly Holland: problem. Clemencia Bennett: Yeah. Robin Dooley: I'll Clemencia Bennett: Otherwise, Robin Dooley: go and check. Clemencia Bennett: could you just describe by hand? Robin Dooley: Okay. Clemencia Bennett: With the the whiteboard? Robin Dooley: Yeah. Holly Holland: If you remember yeah Robin Dooley: Yeah. Holly Holland: but Robin Dooley: So Holly Holland: that's Robin Dooley: uh. Basically what we want here is a remote control right. Holly Holland: Yeah. Robin Dooley: 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. Clemencia Bennett: Mm-hmm. Robin Dooley: And but other people want th also remotes for controlling uh and toys like robotic pets and Clemencia Bennett: Mm-hmm. Robin Dooley: little robots and stuff and other people also want to have remotes for controlling um whole house. Clemencia Bennett: Mm-hmm. Holly Holland: Yeah. Robin Dooley: 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. Clemencia Bennett: Mm-hmm. Robin Dooley: So there is one that is one thing. The other is the the finder feature yeah by whistling or whatever. Uh Clemencia Bennett: Okay. Robin Dooley: 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. Clemencia Bennett: Mm-hmm. Robin Dooley: 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, Clemencia Bennett: Mm-hmm. Robin Dooley: a set of buttons for special navigation in space, Clemencia Bennett: Mm-hmm. Robin Dooley: a set of buttons for linear access of medium and a set of buttons for random access. Holly Holland: Okay. Robin Dooley: Yeah? Clemencia Bennett: What do you mean by linear access then? Robin Dooley: Like a video tape goes forward, backwards, Clemencia Bennett: Ah. Robin Dooley: uh fast and stuff yeah. Um. Holly Holland: Okay so special navigation, linear access, random access and there's a fourth one no? Robin Dooley: Mm? Holly Holland: So the better now for special navigation? Robin Dooley: Yeah. For special navigation for example you might have a T_V_ in the menu and you going to Holly Holland: Okay. Robin Dooley: change yeah? Holly Holland: Then linear Robin Dooley: Uh. Holly Holland: access then Robin Dooley: Mm. Holly Holland: random access. Robin Dooley: Yeah and also parameter Holly Holland: Ah yeah Robin Dooley: changing. Holly Holland: parameter okay. Robin Dooley: So if there are common parameters maybe we should put special buttons for that Holly Holland: Okay. Robin Dooley: um or maybe we could have everything uh generic but uh there are a lot of uh remotes on the market right now Holly Holland: Okay. Robin Dooley: and basically this is most of the almost everybody has this stuff. Holly Holland: Okay and and voice command did you uh Robin Dooley: Voice command w we could specify anything. We could assign Holly Holland: Okay. Robin Dooley: any button a command to any button, Holly Holland: Okay. Robin Dooley: if we have enough processing power, I guess so. Yeah. Holly Holland: Okay. Robin Dooley: Yeah. Holly Holland: So that's uh that close your investigations? Robin Dooley: Yeah. Uh Holly Holland: Okay. Robin Dooley: yeah I think so. Not so far. Holly Holland: Okay. Maybe we can have a look at the user requirements with Mary Pridgeon: Yeah. Um I dunno if you open Holly Holland: I dunno if Mary Pridgeon: the Holly Holland: I can open Mary Pridgeon: uh Holly Holland: it. Maybe you Mary Pridgeon: m Holly Holland: can Mary Pridgeon: is Holly Holland: s Mary Pridgeon: not here. Holly Holland: It's Mary Pridgeon: Uh in yeah okay. Holly Holland: Messenger Mary Pridgeon: No. Holly Holland: no? Mary Pridgeon: In document. Mm computer yeah. Holly Holland: In which folder? Robin Dooley: Where did you put it? Mary Pridgeon: Here. Here. Holly Holland: Short-cut to Robin Dooley: mm. Holly Holland: AMI Mary Pridgeon: But it's Holly Holland: shared Mary Pridgeon: not Holly Holland: folder? Mary Pridgeon: Um. Holly Holland: Maybe you can send it to Mary Pridgeon by email. Just to participant one. At AMI. Mary Pridgeon: Mm-hmm. Yeah, I can do that. Holly Holland: I will try to show it to everyone, that would be more comfortable. Mary Pridgeon: Okay. Um. Holly Holland: You send it? Mary Pridgeon: It's participant one? Holly Holland: Yeah. Uh this is this email. Robin Dooley: I'm designing the user interface. Mary Pridgeon: Okay. You can uh. Holly Holland: Okay. So maybe I can switch slides when you Mary Pridgeon: Yeah. Holly Holland: whenever you ask, that will be more convenient. So okay, Mary Pridgeon: Okay Holly Holland: functional Mary Pridgeon: so Holly Holland: requirements. Mary Pridgeon: you can you can go. Okay so in our usability lab we observed the remote control use among one hundred subjects Holly Holland: Mm. Yeah. Mary Pridgeon: 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 Holly Holland: We Mary Pridgeon: it's Holly Holland: can Mary Pridgeon: not Holly Holland: just Mary Pridgeon: in Holly Holland: keep Mary Pridgeon: theory Holly Holland: doing Mary Pridgeon: but Holly Holland: that? Mary Pridgeon: I I can I can say yeah. Holly Holland: Yeah. Mary Pridgeon: 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. Holly Holland: Okay. Mary Pridgeon: Um and fifty per cents of users say they only use uh ten per cents of but of the buttons in the Holly Holland: Okay. Mary Pridgeon: 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 Holly Holland: Okay. Mary Pridgeon: only or Holly Holland: Okay, so fewer buttons maybe Mary Pridgeon: Yeah. Holly Holland: would be Mary Pridgeon: F Holly Holland: good? Mary Pridgeon: not many buttons, and uh and uh uh u useable buttons. Holly Holland: Okay. Robin Dooley: But what kind of remote controls did you look at? Mary Pridgeon: Sorry? Robin Dooley: What kind of task was it? It was a T_V_? Mary Pridgeon: Yeah. Uh Holly Holland: Yeah. Mary Pridgeon: most for most is T_V_. Holly Holland: Yeah but in fact we it it seems that we are going to make a T_V_ remote control according Robin Dooley: Huh. Holly Holland: to new requirements I received from the management Robin Dooley: Uh-huh. Holly Holland: bo I will present them in the following. Robin Dooley: Ah! Good. Holly Holland: Okay. Mary Pridgeon: '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 Holly Holland: Yeah. Mary Pridgeon: room so they want to have a way to to Holly Holland: To find Mary Pridgeon: to Holly Holland: it. Mary Pridgeon: find it. Holly Holland: Yeah. Mary Pridgeon: Um and um lot of the time they it takes too much time to learn how to use Holly Holland: Yeah. Mary Pridgeon: a new remote control. So they want something s Clemencia Bennett: Mm-hmm. Mary Pridgeon: really very simple and uh Holly Holland: Okay. Mary Pridgeon: easy to use. And uh remote controls are bad for Holly Holland: What Mary Pridgeon: R_S_I_ Holly Holland: is her other side? Mary Pridgeon: um I Robin Dooley: Other Mary Pridgeon: dunno. Robin Dooley: side yeah, yo wa your wrist. It i can become painful you can have tendonditis. Holly Holland: Oh yeah? Robin Dooley: Yeah. Holly Holland: I did not knew that. Robin Dooley: If you also up on a computer in a strange position. Holly Holland: Okay so you we have to make it uh more Robin Dooley: Ergonomic. Holly Holland: ergonomic yeah. Robin Dooley: But uh. Have Mary Pridgeon: Yeah. Robin Dooley: to say ha ha. Holly Holland: It's your job Oh. Mary Pridgeon: Uh. Holly Holland: Uh sorry got a message from Microsoft. Mary Pridgeon: Okay um before that I I have some some some thing Holly Holland: Yeah. Mary Pridgeon: uh to say before Holly Holland: Yeah yeah. Mary Pridgeon: um We know that uh the user use uh a lot their um remote control um to to change channel. Holly Holland: Yeah. Mary Pridgeon: Um and um to to change uh volume selection of Holly Holland: Okay. Mary Pridgeon: the and uh and not uh a lot for setting for Holly Holland: Yeah. Mary Pridgeon: setting the the channels and uh Clemencia Bennett: Mm-hmm. Mary Pridgeon: thing things like that. Robin Dooley: Mm-hmm. Holly Holland: Okay. Mary Pridgeon: So it's better to put uh uh uh something very easy to set and uh Holly Holland: Yeah. Mary Pridgeon: and Holly Holland: This function should be very Mary Pridgeon: Very Holly Holland: uh accessible. Mary Pridgeon: accessible yes. Holly Holland: Yeah, okay. Mary Pridgeon: That's right. Holly Holland: This is the main function okay. Mary Pridgeon: So then we asked some questions to them and Holly Holland: Yeah. Mary Pridgeon: um we asked this question if Holly Holland: Yeah. Mary Pridgeon: 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 Holly Holland: Yeah. Mary Pridgeon: and you can go we have here the results of Robin Dooley: The first question. Mary Pridgeon: of the questions. So you know that um for the younger it's very important Holly Holland: To have L_C_D_ Mary Pridgeon: to have Holly Holland: and Mary Pridgeon: the Holly Holland: voice. Mary Pridgeon: 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. Holly Holland: Okay. Mary Pridgeon: So maybe we we can have a speech Holly Holland: Yeah maybe Mary Pridgeon: recognition Holly Holland: this this Mary Pridgeon: in. Holly Holland: is important. Mary Pridgeon: Yeah. Holly Holland: Moreover th maybe those uh like those teenager customer could advice their parents to buy this equipment and Robin Dooley: Mm. Holly Holland: so we can we have to take care of that point of view I think or so. Mary Pridgeon: Mm. Holly Holland: Yeah. Mary Pridgeon: 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. Holly Holland: Okay. Mary Pridgeon: Uh not to many mud buttons like we we said before, e Holly Holland: Yeah. Mary Pridgeon: easy to use uh a way to find it easily in the room and uh uh resistant to to shock and to Clemencia Bennett: Mm-hmm. Mary Pridgeon: to Holly Holland: Okay. Mary Pridgeon: An I s no, Holly Holland: Okay Mary Pridgeon: yeah. Holly Holland: these are the user Mary Pridgeon: I dunno Holly Holland: requi Mary Pridgeon: if you see something else important or Clemencia Bennett: I'm just thinking of some thing. Mary Pridgeon: Mm. Holly Holland: Yeah. Clemencia Bennett: Um We want to have a no, I know if a idea. We want to have a a general remote control for everything. Holly Holland: No no no. We w it seems that we no want to have a T_V_ remote control. Clemencia Bennett: Okay. Holly Holland: From Robin Dooley: Mm. Holly Holland: the management board I receive Clemencia Bennett: Yeah. Holly Holland: an email. Cos it would be costly uh and and also it it would take more time to develop to Clemencia Bennett: Yeah. Holly Holland: have Clemencia Bennett: Yeah Holly Holland: a Clemencia Bennett: yeah. Holly Holland: a general generic remote Clemencia Bennett: Yeah. Holly Holland: control. Robin Dooley: Mm I it's not true I think. The Clemencia Bennett: No no. Robin Dooley: the second claim that you put. Holly Holland: That it would be too long to Robin Dooley: Yeah. Holly Holland: develop. Robin Dooley: I think that should be the same. Holly Holland: 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 Robin Dooley: I have Holly Holland: opinion? Robin Dooley: 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. Clemencia Bennett: Finish tonight. Robin Dooley: Yeah. Okay. Clemencia Bennett: But basically yeah Robin Dooley: Yeah. Clemencia Bennett: maybe I can continue with my presentation, it would be Holly Holland: Okay. Clemencia Bennett: al Mary Pridgeon: Yeah. Clemencia Bennett: you Robin Dooley: Yeah. Clemencia Bennett: 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. Holly Holland: Maybe Clemencia Bennett: If Holly Holland: you can Clemencia Bennett: fact Holly Holland: go to the whiteboard if you have some drawings to do I Clemencia Bennett: Yeah Holly Holland: don't Mary Pridgeon: Mm. Holly Holland: know. Clemencia Bennett: but Do I have oh yeah. Now I have enough cables. Robin Dooley: Like a you feel a bit like a dog with this stuff. Clemencia Bennett: 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 Holly Holland: Okay. Are you okay? Clemencia Bennett: 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. Holly Holland: U_C_ is the central unit? Clemencia Bennett: Yeah. Holly Holland: Okay Clemencia Bennett: Y Holly Holland: yeah. Clemencia Bennett: it's a it's this just a chip which does all the um numerical Holly Holland: Computation. Clemencia Bennett: numerical computation Holly Holland: Okay. Clemencia Bennett: 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. Holly Holland: Okay. Clemencia Bennett: So for us this is quite easy. Holly Holland: Okay so this is quite easy. Clemencia Bennett: Yeah. Um Holly Holland: There is not that much Clemencia Bennett: we just Holly Holland: constraints. Clemencia Bennett: 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 Robin Dooley: This Clemencia Bennett: for simple Robin Dooley: will think this will take more time to develop Clemencia Bennett: Yeah Robin Dooley: also. Clemencia Bennett: of course of Robin Dooley: Yeah. Clemencia Bennett: course. And um but for a standard one this is really easy. It's a question of one Robin Dooley: Soon. Clemencia Bennett: month and so Holly Holland: To Clemencia Bennett: on Holly Holland: have a Clemencia Bennett: s Holly Holland: you s you speak about with voi voice control? Clemencia Bennett: No no no no, I say Holly Holland: Standard button one. Clemencia Bennett: yeah standard uh standard remote control takes maybe uh one month to to do that. Robin Dooley: Yeah. So the only time problem is the sp voice recognition. Clemencia Bennett: Yeah. Robin Dooley: Yeah. Clemencia Bennett: Definitely. Robin Dooley: Yeah. Holly Holland: So do you have any idea of how long it would take to have voice recognition now? Clemencia Bennett: I would say. Robin Dooley: Ten years. Clemencia Bennett: I would say uh about eight months to have the first results. Holly Holland: Okay so i it's a bit long yeah. Clemencia Bennett: Yeah. I can Um. Holly Holland: One month for the standard one with button. Clemencia Bennett: Yeah. Holly Holland: Even if we have a L_C_D_ display? Clemencia Bennett: Yeah even. I mean that this is really standard devices now. Um eight. For uh speech recognition. Holly Holland: Okay yeah. Okay so we can take this into account. So who think it would be good to go for uh like speech recognition? Robin Dooley: But we don't have time to market. Clemencia Bennett: And also Holly Holland: Yeah it Clemencia Bennett: how Holly Holland: will. Clemencia Bennett: much uh I think Robin Dooley: I think we should contact Clemencia Bennett: during Robin Dooley: management. Clemencia Bennett: the kickoff meeting you say that we we shouldn't we shouldn't go up to twelve point five Euro Holly Holland: Euros. Clemencia Bennett: per Holly Holland: Yeah, Clemencia Bennett: unit Holly Holland: yeah. Clemencia Bennett: so how many units should we sell to have a Robin Dooley: Well. Holly Holland: Well Robin Dooley: Uh Holly Holland: each unit is is sell uh twenty five Euros. Clemencia Bennett: Yeah but how many yeah. Robin Dooley: 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. Clemencia Bennett: Yeah. Robin Dooley: Yeah. How much will it cost for one hundred thousand? Clemencia Bennett: Usually this is less tha at two dollars per chip. Robin Dooley: Okay. Holly Holland: Because Robin Dooley: So Holly Holland: we Robin Dooley: you Holly Holland: are Robin Dooley: have any idea for a powerful one that has uh good enough for do speech recognition. Clemencia Bennett: Yeah, Robin Dooley: Yeah? Okay. Clemencia Bennett: we can Robin Dooley: So. No Holly Holland: It Robin Dooley: it Holly Holland: seems Robin Dooley: doesn't. Holly Holland: that that we want to sell like four million units from the Clemencia Bennett: Mm-hmm. Holly Holland: first meeting. Robin Dooley: Okay. Four million. Holly Holland: Okay. Mary Pridgeon: Mm. Clemencia Bennett: Um I just had a question uh do you want to continue with your presenta? Holly Holland: Yeah Clemencia Bennett: Is Holly Holland: I Clemencia Bennett: it Holly Holland: I will continue. Well ask your question if you want. Clemencia Bennett: Um you say that I don't remember by heart but thirty per cent Mary Pridgeon: Mm? Clemencia Bennett: of the tested people say that's it's quite difficult to to to use the remote control. Mary Pridgeon: Yeah. Clemencia Bennett: Do they say that this is difficult but for the same reason or do they have other reason? Mary Pridgeon: Oh. Clemencia Bennett: To to Mary Pridgeon: Would j Clemencia Bennett: maybe to keep in mind maybe to access to that menu you should do something like Mary Pridgeon: Uh Clemencia Bennett: that. Mary Pridgeon: yeah w I I think they they say that it's uh difficult to learn how to use it Clemencia Bennett: Mm-hmm. Mary Pridgeon: but i when you know how to use it, Clemencia Bennett: Mm-hmm. Mary Pridgeon: it's it's Holly Holland: Okay. Mary Pridgeon: okay. Clemencia Bennett: And Mary Pridgeon: But Holly Holland: It's not intuitive first. Mary Pridgeon: Yeah. Clemencia Bennett: 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 Robin Dooley: Mh-hmm. Clemencia Bennett: button Robin Dooley: A a lot of people are uh if you have the L_C_D_ screen Clemencia Bennett: Yeah. Robin Dooley: if you can Holly Holland: Yeah. Robin Dooley: do it completely the way you want because the buttons also look Clemencia Bennett: Yeah. Robin Dooley: the way Holly Holland: But, Robin Dooley: you want them Holly Holland: but also Robin Dooley: but Holly Holland: it seems Robin Dooley: it will be Holly Holland: that Robin Dooley: hard to configure I mean imagine Clemencia Bennett: Yeah. Holly Holland: Yeah. Robin Dooley: i uh so it's really something for the expert user. Clemencia Bennett: Okay. Robin Dooley: So I mean there are markets and markets. I think the young people are th uh are uh Christine here said uh Clemencia Bennett: Yeah. Robin Dooley: you have a Holly Holland: Yeah. Robin Dooley: 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. Holly Holland: Yeah. Clemencia Bennett: Mm-hmm. Holly Holland: Maybe it would be more complex to Mary Pridgeon: Mm. Holly Holland: configure it Clemencia Bennett: Yeah. Yeah. Holly Holland: to be simple Clemencia Bennett: Yeah. Robin Dooley: Mm. Holly Holland: than Mary Pridgeon: Mm. Holly Holland: creating a simple product. Robin Dooley: And there Clemencia Bennett: Yeah. Robin Dooley: 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. Clemencia Bennett: Yeah. Robin Dooley: All right? Clemencia Bennett: Yeah. Robin Dooley: Otherwise, if it's different then of course everybody has somebody has to learn to use it first. Clemencia Bennett: Yeah. Holly Holland: 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 Mary Pridgeon: Mm. Holly Holland: and Robin Dooley: Mm-hmm. Holly Holland: volume buttons. So we may just uh make a very easy to use remote control with mainly those buttons Robin Dooley: Yeah. Holly Holland: and maybe also um some lightning stuff too because most people find also hard to to find the remote control. Losed Robin Dooley: Mm-hmm. Holly Holland: 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 Mary Pridgeon: Mm. Holly Holland: making something too complex and too long to develop. Robin Dooley: Mm-hmm. Holly Holland: 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 Robin Dooley: But teletext is just one button. Holly Holland: Yeah but then you have to you have to define the buttons to surf Robin Dooley: You Holly Holland: amongst Robin Dooley: you Holly Holland: pages Robin Dooley: just write Holly Holland: and stuff. Robin Dooley: the write the numbers. Holly Holland: Yeah. So Robin Dooley: So will Holly Holland: well Robin Dooley: you add with the channel keys, right? Holly Holland: Yeah. Robin Dooley: So. Holly Holland: 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 Robin Dooley: I am. I'm sure that uh it don't like but uh I don't see just one button. Holly Holland: Yeah. Robin Dooley: So. Holly Holland: 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. Robin Dooley: Mm-hmm. Holly Holland: 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. Robin Dooley: Capital. Mary Pridgeon: Mm. Holly Holland: So do you um so so from from the Mary Pridgeon I think a key aspect is the easy to use aspect, it should be Mary Pridgeon: Mm. Holly Holland: 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, Clemencia Bennett: Mm-hmm. Holly Holland: no? Mary Pridgeon: Mm. Robin Dooley: Well if it is going to be just a T_V_ remote control it is going to be very simple. Holly Holland: 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 Robin Dooley: Well if it's Holly Holland: in addition Robin Dooley: going to Holly Holland: to Robin Dooley: be Holly Holland: that? Robin Dooley: as simple as possible then just have the remote control, there is no other function that I can see really. Holly Holland: Yeah. Maybe switch T_V_ on and off Robin Dooley: Uh no you want to keep television on so that the advertising can revenue can come back to us. Or Holly Holland: Yeah. Robin Dooley: something. Holly Holland: Yeah. Volume, maybe a mute button, and then Clemencia Bennett: Mm. Holly Holland: on off button. And that's all? Clemencia Bennett: Uh I know that som you say that many people are doing plenty of a lot of zapping. Mary Pridgeon: Mm-hmm. Holly Holland: Mm. Clemencia Bennett: 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, Robin Dooley: It's Clemencia Bennett: you have a Robin Dooley: a Clemencia Bennett: button, Robin Dooley: memory, Clemencia Bennett: you Robin Dooley: yeah. Clemencia Bennett: you press it, and this is uh the previous channel which Holly Holland: Okay. Clemencia Bennett: has come back. Holly Holland: 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 Clemencia Bennett: Mm-hmm. Holly Holland: volume button, plus a mute button, Clemencia Bennett: Mm-hmm. Holly Holland: and uh just the the traditional on off Clemencia Bennett: Mm-hmm. Holly Holland: button. Robin Dooley: And uh and of course the channel changing buttons. Holly Holland: Yeah. I I talk Robin Dooley: How Holly Holland: about that, Robin Dooley: should they Holly Holland: yeah? Robin Dooley: how should we implement that? Because uh could be numerical only or could be also incremental. Holly Holland: Yeah. Incremental definitely because zapping you you switch Robin Dooley: Mm-hmm. Holly Holland: them. Clemencia Bennett: 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. Holly Holland: We go Clemencia Bennett: To Holly Holland: faster? Clemencia Bennett: go fa to go faster. Holly Holland: Mm. Robin Dooley: 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 Clemencia Bennett: Yeah. Robin Dooley: you have if you press them for a long time No. Doesn't work does it. Holly Holland: Maybe we should have also a digit Robin Dooley: Maybe Holly Holland: button Robin Dooley: we should have a complete keyboard and just type console commands. Holly Holland: Yeah. Robin Dooley: Change channel to eight. No. Holly Holland: Maybe we have also to have digits or only incremental. I dunno bec because Robin Dooley: Well Holly Holland: if Robin Dooley: if Holly Holland: you Robin Dooley: it's Holly Holland: have the Robin Dooley: useful like if if you want to change between three channels for example then you h Holly Holland: Uh. Robin Dooley: you cannot you cannot cannot work with just memory being incremental. Holly Holland: Yeah. Because you have your previous channel button if you have incremental only it's Clemencia Bennett: Yeah. Holly Holland: not uh it isn't worth it because the previous channel is eith either minus one or plus one. Robin Dooley: Yeah. Yeah. Holly Holland: So I think we need also digits. Clemencia Bennett: Okay. Holly Holland: Maybe we we can make very obvious the channel and volume button button and smaller button down there with the the digits. Robin Dooley: Yeah when you zap usually you will have to press the same button all the time Holly Holland: Yeah. Robin Dooley: and Clemencia Bennett: Or we can do something like that. We can Robin Dooley: Yeah. Clemencia Bennett: design the remote control to have access. You know some remote control have uh protection Robin Dooley: Mm-hmm. Clemencia Bennett: and so you you y Holly Holland: Yeah. Robin Dooley: Hey Clemencia Bennett: You Robin Dooley: 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 Holly Holland: Yeah. Robin Dooley: uh Clemencia Bennett: Yeah, Robin Dooley: you can have Clemencia Bennett: a kind Robin Dooley: the wheel. Clemencia Bennett: of joystick. Robin Dooley: Yeah. Holly Holland: Yeah. Maybe we can have a wheel for incremental. Robin Dooley: Yeah. Holly Holland: Okay. So have a wheel for incremental, have the digits uh on the lower side that can be closed so as Clemencia Bennett: Mm-hmm. Holly Holland: you say protected, Robin Dooley: Mm-hmm. Holly Holland: and uh yeah I think this is Robin Dooley: On Holly Holland: the Robin Dooley: the lower Holly Holland: basi Robin Dooley: side I think it you have to turn it. No? Holly Holland: And do Robin Dooley: If Holly Holland: we Robin Dooley: we do Holly Holland: do Robin Dooley: that. Holly Holland: we have a Clemencia Bennett: Or a or a ball, yeah, not a a wheel but a ball, and you say uh Holly Holland: No, a wheel is Robin Dooley: Yeah. Clemencia Bennett: to Holly Holland: better. I would say the wheel is better. Robin Dooley: Because Holly Holland: What Robin Dooley: of Holly Holland: is Robin Dooley: that Holly Holland: the expert of uh Clemencia Bennett: Yeah. Robin Dooley: Because it's uh it's it's not like a volume which is smooth yeah? The channels change one by one. Clemencia Bennett: Yeah. Robin Dooley: So you have to the user has to like to should feel the the Clemencia Bennett: Yeah, Robin Dooley: the discrete Clemencia Bennett: the yeah. Holly Holland: Okay. Robin Dooley: sense a bit. Holly Holland: Yeah. Robin Dooley: Yeah. Holly Holland: 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 Clemencia Bennett: 'S quite Holly Holland: control. Clemencia Bennett: it's quite easy we do Holly Holland: Okay. Clemencia Bennett: that w with back light on Robin Dooley: Yeah. Clemencia Bennett: the Robin Dooley: Even Clemencia Bennett: on Robin Dooley: if Clemencia Bennett: the Robin Dooley: i Clemencia Bennett: wheel. Robin Dooley: L_E_D_ uh or a if if it's the L_C_D_ Clemencia Bennett: A blue Robin Dooley: feature uh Clemencia Bennett: a blue L_E_D_ Robin Dooley: whatever, Clemencia Bennett: and Robin Dooley: yeah. Holly Holland: Yeah, Clemencia Bennett: we sell that Holly Holland: and Clemencia Bennett: um. Holly Holland: do we put Robin Dooley: Yeah. Holly Holland: an L_C_D_ display? Because it was important for young customers if you remember. Robin Dooley: I think it's only put on if cou have multi function. Clemencia Bennett: Yeah. Robin Dooley: If you do not multi function then there is no p point in having L_C_D_. Just increase the cost. Holly Holland: Okay. Robin Dooley: The user does not have an advantage really. Holly Holland: So no L_C_D_? Clemencia Bennett: Mm-hmm. Mary Pridgeon: Hmm. Holly Holland: And so no speech as well because it w it would delay too much the Clemencia Bennett: Okay. Holly Holland: development Robin Dooley: Well if it's going Holly Holland: process. Robin Dooley: 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 Mary Pridgeon: Mm-hmm. Robin Dooley: C_N_N_. Mm. Holly Holland: Yeah. That would be cool. But Robin Dooley: Yeah. Holly Holland: eight months is really long and Maybe we can just uh Clemencia Bennett: Ten years Holly Holland: Okay. So um I I will uh I will so I we will move to next meeting so in after the lunch break Clemencia Bennett: Mm-hmm. Holly Holland: 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 Clemencia Bennett: Okay. Holly Holland: suggestion and I I will make a summary of that meeting that I will put in the shared folder you Clemencia Bennett: Okay. Holly Holland: can't see Clemencia Bennett: Okay. Holly Holland: 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 Mary Pridgeon your presentation before by email so that we can see them uh altogether. Robin Dooley: Yeah. Holly Holland: That Mary Pridgeon: Mm. Holly Holland: would be easier. Robin Dooley: What is the folder that you put yours in? And did it it did work? Mary Pridgeon: No. Holly Holland: No it did Mary Pridgeon: No Holly Holland: not Mary Pridgeon: no. Holly Holland: work. She send Robin Dooley: Ah Holly Holland: it Robin Dooley: yeah. Mary Pridgeon: I dunno, Holly Holland: to Mary Pridgeon by Robin Dooley: Mm. Holly Holland: email. Mary Pridgeon: I dunno it. Robin Dooley: Okay. Holly Holland: So maybe this is better, to send it by email. Robin Dooley: Okay what Holly Holland: Okay? Robin Dooley: is your email? Holly Holland: So yeah I I'm it's in the first uh email so I'm participant one Robin Dooley: At participant Holly Holland: at AMI Robin Dooley: one. Okay. Holly Holland: uh where is that, it's here. Participant one at AMI. Okay. So see you after lunch break. Mary Pridgeon: 'Kay Robin Dooley: Well Mary Pridgeon: thank Robin Dooley: during Mary Pridgeon: you. Robin Dooley: lunch break actually. Robin Dooley: So next time we should have a fight. How about uh management or something. Who happens to be your friend.

Robin Dooley presented the major components of the interface design, dividing the interface into two parts: voice commands and buttons. Mary Pridgeon 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. Holly Holland announced a new requirement to the group, that the remote is only to control televisions. Clemencia Bennett 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. Holly Holland 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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Joyce Morgan: Okay. Je croix que c'est dommage de le it will be sad to destroy this prototype. It really looks like a banana. Mary Allbee: It is a banana. Joyce Morgan: It is a Mary Allbee: It Joyce Morgan: banana. Mary Allbee: is of bananas. I would be confused with this thing. Joyce Morgan: Mm. Mary Allbee: S Oliva Epling: Mm-hmm. Joyce Morgan: Okay. Mary Allbee: How is everyone? Joyce Morgan: Hi. Cheryl Starr: Hi. Joyce Morgan: So we are here for the detailed design meeting. Mary Allbee: Mm-hmm. Joyce Morgan: 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. Cheryl Starr: Mm-hmm. Joyce Morgan: 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 Mary Allbee: Like Joyce Morgan: to Mary Allbee: a banana. Joyce Morgan: feel spongy, and uh also at the different aspect like having a wheel Cheryl Starr: Mm-hmm. Joyce Morgan: 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. Cheryl Starr: Mm-hmm. Joyce Morgan: 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. Oliva Epling: Okay. So uh you can have my Joyce Morgan: Yeah. Oliva Epling: project in Joyce Morgan: You have a presentation? Oliva Epling: Uh yeah just a Joyce Morgan: Participant Oliva Epling: Four. Joyce Morgan: four, yes. Oliva Epling: Evaluation. Joyce Morgan: Okay. Okay. Oliva Epling: Okay. So you can go. We can go through. Joyce Morgan: Okay. Oliva Epling: 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 Joyce Morgan: Okay. Oliva Epling: okay so uh we have uh six points. We we talked about before. Joyce Morgan: Okay. Oliva Epling: So want to have a product fancy look and feel, technologically innovative, easy to use, fashion, easy to find in a room, and robust, Joyce Morgan: Yeah. Cheryl Starr: Mm-hmm. Oliva Epling: uh and uh uh I have a scale of uh seven points. Joyce Morgan: Yeah. Oliva Epling: Okay. So I go through all the uh all the points here, Joyce Morgan: Yeah. Oliva Epling: 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? Joyce Morgan: Okay. Oliva Epling: And after we ha we have an an average, and uh we see. Cheryl Starr: Mm-hmm. Joyce Morgan: Okay. Oliva Epling: The okay? Uh so uh fancy look and feel, what do Joyce Morgan: Okay. Oliva Epling: you think? Joyce Morgan: Maybe you can Oliva Epling: F between Joyce Morgan: presen Oliva Epling: o one and seven. Joyce Morgan: okay. Maybe hold it. So I think it's uh very uh very nice. Mary Allbee: I Joyce Morgan: What Mary Allbee: give Joyce Morgan: do Mary Allbee: it Joyce Morgan: you think? Mary Allbee: a I give it a five. Joyce Morgan: Yeah. So it's between one and seven? Oliva Epling: Yeah. Joyce Morgan: Seven is the highest uh? Oliva Epling: Seven Joyce Morgan: I will Oliva Epling: is the Joyce Morgan: give a six. Cheryl Starr: I will give a a five. Oliva Epling: Mm-hmm. Mary Allbee: And Oliva Epling: sorry. Mary Allbee: you? Do you vote uh Christine? Oliva Epling: eh? Mary Allbee: Do you also vote? Oliva Epling: No, I just want to see something Joyce Morgan: Maybe we all have to agree on a common Mary Allbee: Well, we can very easily. Joyce Morgan: Yeah. Oliva Epling: Mm-hmm. Uh I think uh and need to as well. Joyce Morgan: No problem. Oliva Epling: Need to Joyce Morgan: So Oliva Epling: uh I Joyce Morgan: this Oliva Epling: don't know if Joyce Morgan: is Oliva Epling: you Joyce Morgan: your Oliva Epling: we ha we have to put uh one uh f If it's better or Joyce Morgan: One Mary Allbee: I Joyce Morgan: is most. Oliva Epling: Uh-uh. Um. Joyce Morgan: Well, we can choose what we want. Oliva Epling: Yeah. Joyce Morgan: Okay, Oliva Epling: Or maybe Joyce Morgan: let's Oliva Epling: we Joyce Morgan: say Oliva Epling: can Joyce Morgan: that Oliva Epling: say Joyce Morgan: seven is the best. Oliva Epling: s seven is the best Joyce Morgan: Okay. Oliva Epling: mm. Joyce Morgan: So so do note the grade we have five, six for Oliva Epling, Cheryl Starr: Five. Joyce Morgan: five. And Oliva Epling: Oh sorry. Joyce Morgan: what what's your choice? Oliva Epling: Six Joyce Morgan: How much would you give on the fancy aspect, on Oliva Epling: Uh Joyce Morgan: the fashionable aspect? Oliva Epling: s you can how much what? Joyce Morgan: How much would you you don't answer to this uh Oliva Epling: Oh yes Joyce Morgan: questionnaire? Oliva Epling: I mm I dunno mm, I think six, it's a good uh Mary Allbee: So it will have five point five average. Joyce Morgan: Five point five average. Oliva Epling: Yeah. Wa Joyce Morgan: Okay. Mary Allbee: Mm. Oliva Epling: can. Okay. Joyce Morgan: Well, does it Oliva Epling: I sorry. Okay. So after, the technological aspect? Joyce Morgan: Okay, techne technological aspect. Oliva Epling: So we we said uh we have uh a new technological uh thing with a wheel. Joyce Morgan: Yeah, we have the wheel. Oliva Epling: Uh. Joyce Morgan: We also have the rubber material, which make it uh like new also. I think I would give a five. Mary Allbee: It's four. Joyce Morgan: Four? Cheryl Starr: A four also, Mary Allbee: Yeah. Cheryl Starr: because, except for the wheel, we don't have so much innovation. The rubber is Joyce Morgan: Okay. Mary Allbee: D are we including Cheryl Starr: Uh a four. Mary Allbee: the Cheryl Starr: I Mary Allbee: voice Cheryl Starr: I Mary Allbee: are you glu we including the voice in the end or Joyce Morgan: No. Mary Allbee: not? Huh? No. Okay. Joyce Morgan: So Oliva Epling: No. Joyce Morgan: what's your uh grade? Oliva Epling: Four. Joyce Morgan: Four? So we have four, four f and five? Oliva Epling: We can put four? Mary Allbee: Yeah. For Joyce Morgan: Yeah, Mary Allbee: twenty Joyce Morgan: four. Oliva Epling: Everyone Mary Allbee: five. Oliva Epling: is okay or Joyce Morgan: Four, Oliva Epling: four poin Joyce Morgan: yeah, let's put four. Oliva Epling: Four. Mary Allbee: Yeah. Oliva Epling: Okay. Joyce Morgan: Doesn't it Oliva Epling: Very easy to use. Do you think it's easy to use? Cheryl Starr: Yeah. Joyce Morgan: Yeah, I think Mary Allbee: I give a Joyce Morgan: so. Mary Allbee: seven, I think. Joyce Morgan: Yeah. Cheryl Starr: Six. Joyce Morgan: I would give a I would give a seven as well. It's very easy to use. Oliva Epling: Mm, Cheryl Starr: Six. Oliva Epling: six for Oliva Epling also. Joyce Morgan: So Oliva Epling: Six Mary Allbee: 'Kay. Oliva Epling: point five. Joyce Morgan: six point Cheryl Starr: Six Joyce Morgan: five. Cheryl Starr: six six point five. Oliva Epling: Okay. Joyce Morgan: Okay. Oliva Epling: Is it fashion? Joyce Morgan: Oh yeah, its its f its fruit Oliva Epling: Seven? Joyce Morgan: fruit shape. I would say seven. And is very Oliva Epling: Yeah Joyce Morgan: very Oliva Epling: it's Joyce Morgan: nice Oliva Epling: fashion, Joyce Morgan: design. Oliva Epling: because it's a fruit, and Mary Allbee: Yeah, Oliva Epling: we say Mary Allbee: we can we Oliva Epling: that Mary Allbee: can put Oliva Epling: the Mary Allbee: a seven here. Yeah. Cheryl Starr: Yeah, Oliva Epling: yeah, seven. Cheryl Starr: seven. Joyce Morgan: Yeah. Mary Allbee: Yeah. Joyce Morgan: Seven, okay. Mary Allbee: Well, we hope. Cheryl Starr: Easy Oliva Epling: Uh Cheryl Starr: to find. Oliva Epling: easy to find in a room? Cheryl Starr: I lost my banana. Joyce Morgan: I think you can't miss it. Mary Allbee: Yeah. Oliva Epling: Yeah? Joyce Morgan: Okay. Cheryl Starr: Uh. Mary Allbee: Yeah, I think it's cool. I think we can put a six here. Oliva Epling: We have the lightning, or Joyce Morgan: Yeah, Oliva Epling: The lighting. Joyce Morgan: we have the we don't sesh especially Mary Allbee: So you'll Joyce Morgan: have Mary Allbee: make Joyce Morgan: the Mary Allbee: the Joyce Morgan: lightning Mary Allbee: material Joyce Morgan: but Mary Allbee: transparent so that it uh lights up completely, or Joyce Morgan: So it's yellow. It's okay. I think Oliva Epling: Yeah. Joyce Morgan: it's very easy to Oliva Epling: Seven? Joyce Morgan: I would say seven. It's hard to Cheryl Starr: Six. Joyce Morgan: miss it. Cheryl Starr: Yeah, Mary Allbee: Yeah. Oliva Epling: Is it Cheryl Starr: okay. Oliva Epling: is it robust? Joyce Morgan: Yeah, it's Cheryl Starr: Uh f Joyce Morgan: rubber, Cheryl Starr: yeah, Joyce Morgan: made of rubber, I think it's m it's uh more rubber than uh Cheryl Starr: Yeah. Joyce Morgan: other remote Mary Allbee: Yeah Joyce Morgan: control. Mary Allbee: the only problem there might be which know, i if it's very sensitive, Joyce Morgan: Yeah. Mary Allbee: they will, Cheryl Starr: Yeah. Mary Allbee: I don't know Joyce Morgan: But it is uh it is surrounded by rubber material. Mary Allbee: Yeah, Cheryl Starr: Yeah. Mary Allbee: okay. Joyce Morgan: So maybe we can put a six. Cheryl Starr: Yeah. Mary Allbee: Mm. Cheryl Starr: Six Oliva Epling: Everybody is Cheryl Starr: or five. Oliva Epling: okay, six. Cheryl Starr: Five. Joyce Morgan: Six Mary Allbee: Six, Joyce Morgan: is okay? Mary Allbee: yeah, for Cheryl Starr: Six. Oliva Epling: Yeah. Mary Allbee: Oliva Epling. Oliva Epling: Okay. Joyce Morgan: Yeah. Mary Allbee: Yeah. Oliva Epling: S now Joyce Morgan: Tadada. Oliva Epling: um so. Joyce Morgan: We have to Mary Allbee: Twenty. Joyce Morgan: sum up Oliva Epling: Thirteen Joyce Morgan: everything. Oliva Epling: uh, twenty, twenty six point five, uh seven, Mary Allbee: Thirty. Oliva Epling: thirty two, thirty Mary Allbee: Thir Oliva Epling: six. That's that's okay? Six. Mary Allbee: Okay. Joyce Morgan: Six is a Oliva Epling: Good. Joyce Morgan: good Oliva Epling: Uh if we say that seven it's uh Mary Allbee: Yeah, Joyce Morgan: Yeah, Oliva Epling: it's Mary Allbee: the Joyce Morgan: the Oliva Epling: the Joyce Morgan: be. Mary Allbee: top Oliva Epling: better, and when uh s Joyce Morgan: Okay, Mary Allbee: Mm. Joyce Morgan: so Oliva Epling: six Joyce Morgan: six Oliva Epling: sit Joyce Morgan: is Oliva Epling: six Joyce Morgan: a Oliva Epling: are good it's a good uh p product, Mary Allbee: So will Oliva Epling: I think. Mary Allbee: become eight soon? Joyce Morgan: So it's a good evaluation, I think. It's very promising. Mary Allbee: Yeah, well it's a bit biased. Oliva Epling: We have a good Joyce Morgan: Huh. Oliva Epling: price and uh. Cheryl Starr: Yeah. Mary Allbee: Okay. Oliva Epling: Good. Joyce Morgan: So this prototype is quite nice. Mary Allbee: Because I saw uh some phones that were banana shaped, Joyce Morgan: Yeah. Mary Allbee: uh wireless phones not mobile ones, wireless Joyce Morgan: Okay. Mary Allbee: 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. Cheryl Starr: Mm-hmm. Joyce Morgan: So having this at twenty five Euros is uh quite attractive, I think. Mary Allbee: Yeah. Joyce Morgan: I think Cheryl Starr: But Joyce Morgan: the Cheryl Starr: almo also the complexity between a phone and a remote control is not Mary Allbee: Yeah. Cheryl Starr: cannot compare. Mary Allbee: Yeah, Joyce Morgan: Yeah. Mary Allbee: it's much more complex, but Joyce Morgan: 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. Cheryl Starr: Start Joyce Morgan: I Cheryl Starr: to Joyce Morgan: don't know if Cheryl Starr: eat banana. Joyce Morgan: it's provided by uh by the meeting staff. Oliva Epling: Mm-hmm. Mary Allbee: Okay. Joyce Morgan: Okay so congratulation. Cheryl Starr: Yeah. Mary Allbee: Congratulations Joyce Morgan: Nice product. Mary Allbee: to the team. Uh very well, we worked together fantastically. Joyce Morgan: Yeah. I think it was a good collaboration uh. Aspect. Mary Allbee: So what does the management say? Joyce Morgan: Sorry? Mary Allbee: What does the management say? Joyce Morgan: I think we will have um much bigger project next time and a much bigger salary as well. Mary Allbee: Ah. Joyce Morgan: All it depends on who watch this meeting. Cheryl Starr: Yeah. Joyce Morgan: We don't know. Mary Allbee: Yeah. Okay. Joyce Morgan: good guys, Cheryl Starr: Okay. Joyce Morgan: so see you for next uh successful project. Cheryl Starr: Yeah. Fruits. Oliva Epling: Mm 'kay. Mary Allbee: Mm.

Joyce Morgan presented the final cost of the remote with the finalized list of components. The final cost was under the alotted budget; Joyce Morgan announced that the project could then continue with the current prototype. Oliva Epling 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. Joyce Morgan summarized the accomplishments of the meeting.

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Lillian Copes: Afternoon guys. It's gonna be. Bonnie Roberts: Rock and roll. Lillian Copes: Oh. 'Kay. Bonnie Roberts: So do we need to re-train Mike on how to put his mic on? Jean Hailey: Think Lillian Copes: We may Bonnie Roberts: Okay, Jean Hailey: s Lillian Copes: do. Bonnie Roberts: can he get it all by himself this time? Lillian Copes: I dunno, Jean Hailey: Mm. Lillian Copes: I'm feeling like a Jean Hailey: Pro Lillian Copes: big boy. Jean Hailey: Probably not, been Bonnie Roberts: So Jean Hailey: listening too much. He's Bonnie Roberts: I believe Jean Hailey: getting Bonnie Roberts: I Jean Hailey: retarded. Bonnie Roberts: can fly. Jennifer Adon: Alright Jean Hailey: Yay. Jennifer Adon: well we got some exciting stuff for you guys. Jean Hailey: Or not. Jennifer Adon: Or not. Jean Hailey: Yeah. Bonnie Roberts: Just what I needed was something exciting. Remember, I'm an old man. Lillian Copes: 'Kay, ready to go? Jennifer Adon: All ready. Lillian Copes: 'Kay so Jean Hailey: Apparently Lillian Copes: we've Jean Hailey: I'm Lillian Copes: got Jean Hailey: old as Lillian Copes: our Jean Hailey: well. Lillian Copes: conceptual design meeting. Hopefully we've Bonnie Roberts: Thirty's Lillian Copes: all got exciting Bonnie Roberts: really young, Lillian Copes: ideas Bonnie Roberts: eh? Lillian Copes: now. Jennifer Adon: We do. Lillian Copes: 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. Jennifer Adon: Alright. Lillian Copes: 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? Jennifer Adon: I guess I'll go first. Lillian Copes: You p two? Jennifer Adon: Yeah. Lillian Copes: What's Jennifer Adon: Component, I think. Lillian Copes: Components Jennifer Adon: Yeah. Lillian Copes: design. Jennifer Adon: Yep that's it. Jean Hailey: Presented by name. Jennifer Adon: My name is. Bonnie Roberts: Jose he Lillian Copes: Your Bonnie Roberts: man Lillian Copes: name Bonnie Roberts: is. Lillian Copes: is name? Jennifer Adon: My name is name. Lillian Copes: Huh hi Jean Hailey: My Lillian Copes: name. Jean Hailey: name is Inigo Montoya. You killed my father. Jennifer Adon: Sorry Jean Hailey: Prepare Jennifer Adon: I did this Jean Hailey: to Jennifer Adon: in a bit of a rush. Bonnie Roberts: N name. Jennifer Adon: So Lillian Copes: Right. Jean Hailey: die. Jennifer Adon: 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 Lillian Copes: We've all Jennifer Adon: activate Lillian Copes: broke a remote control ri um s Jennifer Adon: Yeah Lillian Copes: yeah. Bonnie Roberts: I've Jennifer Adon: 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 Bonnie Roberts: I just love you tech guys, huh. They just Jean Hailey: Yeah there's a thingy and Bonnie Roberts: Yeah Jean Hailey: a dingy Jennifer Adon: Well Bonnie Roberts: y Jean Hailey: and Bonnie Roberts: do jabber. Lillian Copes: You press Jennifer Adon: so Lillian Copes: this and Jennifer Adon: you've Lillian Copes: it does Jennifer Adon: got Lillian Copes: th Jennifer Adon: 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. Lillian Copes: I dunno Jennifer Adon: So Lillian Copes: who and whatnot. Jennifer Adon: exactly. Jean Hailey: Nah. Jennifer Adon: So um we've got a i in this in this uh drawing Bonnie Roberts: P Jennifer Adon: he uh in this example here, this is a eighteen pin um uh chip Bonnie Roberts: Yeah. Jennifer Adon: 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 Lillian Copes: 'Kay. Jennifer Adon: don't know if that's really Jean Hailey: I wanna change that. Jennifer Adon: I don't know we got some qu crazy guys down there in that department so Lillian Copes: Okay. Bonnie Roberts: I gotta gotta flashlight, and uh Jennifer Adon: You shake it. Bonnie Roberts: yeah but it's interesting 'cause you shake it like this. Like this. Jennifer Adon: Yeah. So that's the next bullet is the Bonnie Roberts: And Jennifer Adon: um Bonnie Roberts: that's on the camera. Jennifer Adon: the kinetic provision of energy, so it's like that flashlight where you have to shake it. Bonnie Roberts: Yeah. Lillian Copes: 'Kay. Jennifer Adon: 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. Lillian Copes: Mm 'kay. Jennifer Adon: And finally we've got our cradle o our power cradle idea. Lillian Copes: Okay so we basically have battery versus cradle Jennifer Adon: M Lillian Copes: here? Jennifer Adon: battery versus cradle I think Lillian Copes: Okay. Jennifer Adon: is yeah. Jean Hailey: I like the kinetic. Lillian Copes: So Bonnie Roberts: I Lillian Copes: we have Bonnie Roberts: g I Lillian Copes: battery Bonnie Roberts: I figured Lillian Copes: versus Jennifer Adon: It Bonnie Roberts: you Jennifer Adon: could Lillian Copes: cradle Jennifer Adon: be Bonnie Roberts: would. Jennifer Adon: fun. Bonnie Roberts: Yes. Yeah. Lillian Copes: It's actually a novel thing because you could sell it a as a novelty, just to be actually serious Jennifer Adon: Yeah. Lillian Copes: for a minute here, you Jennifer Adon: Well Lillian Copes: could Jennifer Adon: it is it is more uh I mean it is more eco-friendly than the than the cradle 'cause you're still using Lillian Copes: Mm. Jennifer Adon: power off the grid with the cradle. So Lillian Copes: Hmm. Jennifer Adon: 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 Lillian Copes: Wood wood would ge would give us a little bit of a marketing niche, wouldn't it. Jennifer Adon: I think wood i Lillian Copes: Nah. Jennifer Adon: I I can't see anybody Bonnie Roberts: It it Jennifer Adon: wanting Bonnie Roberts: it Jennifer Adon: to use a wooden remote, it's Bonnie Roberts: Uh. Jennifer Adon: just Lillian Copes: Okay. Jennifer Adon: anti-technology really, you know. Lillian Copes: Hmm. Bonnie Roberts: Uh uh to Bonnie Roberts 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 Jennifer Adon: Right. Bonnie Roberts: a way to accentuate Jennifer Adon: And what Bonnie Roberts: it. Lillian Copes: Okay. Jennifer Adon: 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. Lillian Copes: 'Kay. Do you get a good grip on the rubber? Jennifer Adon: Yeah Lillian Copes: Yeah okay. Bonnie Roberts: And Jennifer Adon: um Bonnie Roberts: if you make it from that super rubber, when you drop it on the floor it can bounce right back up in your hand. Jennifer Adon: Yeah. Bonnie Roberts: You don't even need to lean down to get it. Jennifer Adon: 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 Lillian Copes: Okay. Jennifer Adon: But basically these are curved and double-curved I I believe that the tech department, in their um in their message to Bonnie Roberts, 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 Lillian Copes: Okay. Jennifer Adon: what they told Bonnie Roberts, 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 Lillian Copes: Okay. Jennifer Adon: or surfaces. I Lillian Copes: I Jennifer Adon: have Lillian Copes: think Jennifer Adon: no Lillian Copes: it Jennifer Adon: idea. Lillian Copes: might mean something like that sorta shape because a double curve rather Bonnie Roberts: Mm-hmm Lillian Copes: than Bonnie Roberts: yeah Lillian Copes: a Jennifer Adon: Oh Bonnie Roberts: that's Jennifer Adon: okay Lillian Copes: yeah that's Bonnie Roberts: yeah Jennifer Adon: oh Bonnie Roberts: that's Jennifer Adon: like Bonnie Roberts: what Jennifer Adon: a Bonnie Roberts: I Jennifer Adon: wave, Bonnie Roberts: see. Lillian Copes: what. Jennifer Adon: okay. Bonnie Roberts: Yeah Jennifer Adon: Alright Bonnie Roberts: that's what I see Jennifer Adon: that Bonnie Roberts: also. Jennifer Adon: 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 Bonnie Roberts: Ooh. Jennifer Adon: 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. Lillian Copes: Okay. Jennifer Adon: 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 Lillian Copes: D do we have actually Jennifer Adon: expense Lillian Copes: any Jennifer Adon: uh Lillian Copes: concept of what the difference is between a simple chip and an advanced chip? Jennifer Adon: Yes the difference is, with a simple chip a simple chip will operate oh why doesn't this scroll up? Previous previous, okay. Um Lillian Copes: Okay. Jennifer Adon: 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. Lillian Copes: Okay. Jennifer Adon: So but yeah. Lillian Copes: Yeah that makes sense. Jennifer Adon: That's the Lillian Copes: So Jennifer Adon: end of my presentation. Lillian Copes: presentation from I guess design would go best. Next. Lillian Copes: Technical functions or interface concept? Jennifer Adon: I think Jean Hailey: Oh interface concept. Lillian Copes: Yeah that's it. Yes, but it has your name on it. Jean Hailey: 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. Jennifer Adon: No. Jean Hailey: No. It it it you'll be you know be affected by Jennifer Adon: If Jean Hailey: the by Jennifer Adon: the Jean Hailey: the other Jennifer Adon: T_V_ Jean Hailey: speech Jennifer Adon: is working, Jean Hailey: and Jennifer Adon: 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. Jean Hailey: Yeah and and fighting Jennifer Adon: So Jean Hailey: for the remote would not be fun anymore, and I think that's one of the things we Lillian Copes: But Jean Hailey: wanna Lillian Copes: what if Jean Hailey: keep. Lillian Copes: you actually had to press a button to make it recognize? So if you pressed it and went, up? Jean Hailey: That kinda would Jennifer Adon: Well then why don't Jean Hailey: r Jennifer Adon: you just press the up Jean Hailey: d Jennifer Adon: button? Jean Hailey: yeah. Lillian Copes: Man yeah. Jean Hailey: That would kind of lose Lillian Copes: But if it's just Jean Hailey: it. Lillian Copes: one thing with a button that you can just go Bonnie Roberts: That's right. Jennifer Adon: Even Lillian Copes: Up. Jennifer Adon: still there's gonna be interf th there's there still will be interference from the T_V_. It Lillian Copes: Yeah, okay. Jennifer Adon: 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. Jean Hailey: Yeah Lillian Copes: Okay. Jean Hailey: so um taking that away, our uh Lillian Copes: You guys know your stuff. Jean Hailey: 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, Jennifer Adon: That I Jean Hailey: about Jennifer Adon: would believe. Bonnie Roberts: Mm-hmm. Lillian Copes: Mm. Jean Hailey: 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. Jennifer Adon: Mm-hmm. Jean Hailey: 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. Lillian Copes: So we're suggesting doing a sorta scroll wheel thing for the volume? Jean Hailey: Ye no it's Jennifer Adon: That's Jean Hailey: not Jennifer Adon: not Jean Hailey: i Jennifer Adon: a Jean Hailey: i Jennifer Adon: scroll wheel. Jean Hailey: it's just Lillian Copes: Nah. Jean Hailey: four buttons that are on a cross, Lillian Copes: Oh okay Jean Hailey: so Lillian Copes: okay. Jean Hailey: that you Lillian Copes: I Jean Hailey: ba Lillian Copes: see. Jean Hailey: basically can control all of the Jennifer Adon: Right. Jean Hailey: important tasks from that alone. Jennifer Adon: Instead of Lillian Copes: Uh, Jennifer Adon: play, Lillian Copes: okay. Jennifer Adon: stop, rewind, and fast forward there, that's up, down, louder, and quieter. Lillian Copes: Okay. Jean Hailey: 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. Lillian Copes: 'Kay. So on to Lillian Copes: Y functional requirements or trend watching? Bonnie Roberts: I dunno. Jennifer Adon: Trend watching Bonnie Roberts: Trend Jennifer Adon: has Bonnie Roberts: watching Jennifer Adon: a later Bonnie Roberts: I guess. Jennifer Adon: date there. Bonnie Roberts: Trend watching I believe. Lillian Copes: forty six nineteen fifty seven. Bonnie Roberts: See Lillian Copes: Yep. Bonnie Roberts: 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 Bonnie Roberts wanna choose that product over other products that are out there. Jennifer Adon: Are you talking about the picture? Bonnie Roberts: Yeah yeah. Jennifer Adon: That's not our that's not our b design, that's just Bonnie Roberts: Okay. Jennifer Adon: a that's just something he a a graphic he used to show you the layout Bonnie Roberts: Okay. Jennifer Adon: of what the layout of the buttons might be like. Bonnie Roberts: 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 Lillian Copes: Mm. Bonnie Roberts: 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 Lillian Copes: Upper Bonnie Roberts: so, Lillian Copes: management said yes. Bonnie Roberts: hello. Lillian Copes: Uh e excuse that, that's a bit of spam. Bonnie Roberts: 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? Jennifer Adon: What's special and unique about a scroll? Bonnie Roberts: Uh well I don't Lillian Copes: It's cool. Bonnie Roberts: 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 Bonnie Roberts something different. I give Bonnie Roberts a lower price, give Bonnie Roberts a higher price, give Bonnie Roberts some new technology, don't give Bonnie Roberts 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 Lillian Copes: I'd Bonnie Roberts: firm. Lillian Copes: I'd say though that we if we did make the decision to go with the cradle though, Bonnie Roberts: What Lillian Copes: the then we Bonnie Roberts: i Lillian Copes: have that Bonnie Roberts: if Lillian Copes: as Bonnie Roberts: when Lillian Copes: well, but Bonnie Roberts: when we Lillian Copes: wi with Bonnie Roberts: have Lillian Copes: a similar Bonnie Roberts: 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 Jennifer Adon: Well Bonnie Roberts: this product unique. Jennifer Adon: 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 Bonnie Roberts: Yep. Jennifer Adon: interior, having it look really nice um and also be really durable. Bonnie Roberts: Mm 'kay. Just remember when I made up this report I didn't have the information that we're discussing here. Jennifer Adon: Right Lillian Copes: Mm. Jennifer Adon: yeah. Bonnie Roberts: And Lillian Copes: Course. Bonnie Roberts: and Jennifer Adon: Yeah. Bonnie Roberts: 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, Lillian Copes: Yeah Bonnie Roberts: which Lillian Copes: 'cause Bonnie Roberts: we're Lillian Copes: that's. Bonnie Roberts: 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 Lillian Copes: Mm. Bonnie Roberts: yet. So Lillian Copes: Mm 'kay. Bonnie Roberts: I Jennifer Adon: Well Bonnie Roberts: need Jennifer Adon: let's Bonnie Roberts: a product. Jennifer Adon: get a product then. Bonnie Roberts: 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. Lillian Copes: So now Bonnie Roberts: If you if you give Bonnie Roberts if you give Bonnie Roberts a cut-out of what everybody else has then I need to I need to find a lower cost. Lillian Copes: 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 Jennifer Adon: Well my question Lillian Copes: off-hand Jennifer Adon: is what Lillian Copes: first? Jennifer Adon: would the scroll wheel do? Function-wise, what does that do that Lillian Copes: Oh but that was in your presentation so wh what would you imagine Bonnie Roberts: Yeah Lillian Copes: it doing? Bonnie Roberts: wh wh what's the wh Jennifer Adon: Yeah. Well it's it's just another way to do the exact same thing that the buttons do. Lillian Copes: Mm 'kay. Bonnie Roberts: Okay now Jean Hailey: But Bonnie Roberts: what Jean Hailey: would Bonnie Roberts: I see Jean Hailey: we Bonnie Roberts: 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. Lillian Copes: Yeah. Bonnie Roberts: 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. Lillian Copes: What I understand about scroll wheels is they're they're quite expensive to Jennifer Adon: Yeah. Lillian Copes: to make. Jennifer Adon: Th Lillian Copes: So I d Jennifer Adon: 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 Jean Hailey: I dunno. I'll bet first in volume maybe. I dunno. Jennifer Adon: No we can we can do multiple scroll wheels but Lillian Copes: 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 Bonnie Roberts: Mm-hmm. Lillian Copes: sorta things. It s i m makes it easy Bonnie Roberts: Yeah yeah. Lillian Copes: to market, it's Bonnie Roberts: I Lillian Copes: easy Bonnie Roberts: think Lillian Copes: to differentiate Bonnie Roberts: it's Lillian Copes: the product, Bonnie Roberts: that's right. Lillian Copes: yeah so. Bonnie Roberts: I think so. Lillian Copes: 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 Jennifer Adon: Mm-hmm. Lillian Copes: because you're not going to be ditching it as often. It's gonna need to be more expensive because of the cradle. Bonnie Roberts: Mm. Lillian Copes: So if we can market it in terms of Bonnie Roberts: Yep. Lillian Copes: that and yeah Bonnie Roberts: I Lillian Copes: well Bonnie Roberts: think we got some exclusivity in that, you know, we got something that nobody Jennifer Adon: Yeah. Bonnie Roberts: 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. Lillian Copes: 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. Jennifer Adon: 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. Lillian Copes: Okay. Just a very thin sorta sheet for a a grip, sorta Jennifer Adon: Well no Lillian Copes: thing Jennifer Adon: ma Lillian Copes: or Jennifer Adon: yeah Lillian Copes: for Jennifer Adon: 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 Lillian Copes: 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? Jean Hailey: It's only a T_V_. Jennifer Adon: 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. Jean Hailey: Hmm. Jennifer Adon: It Lillian Copes: Okay. Jennifer Adon: receives no information. So I I don't see any reason for having an L_C_D_ 'cause it's an increased cost. Unless Bonnie Roberts: Yeah. Jennifer Adon: you can think of something interesting to do with it. Bonnie Roberts: Yeah right now there's right now there's nothing coming out of the T_V_ to receive, so Jennifer Adon: Right. Bonnie Roberts: 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. Lillian Copes: 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? Jennifer Adon: Well we have to I think for Bonnie Roberts 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? Lillian Copes: I think maybe in terms of marketing, is that gonna make enough of a Bonnie Roberts: Again. Lillian Copes: difference to justify the cost? Bonnie Roberts: Well I think it's it's the more uniqueness you can bring to the product, the easier it is, I believe, for Bonnie Roberts 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 Jennifer Adon: Well I dunno about like the flip-phone idea, because I think, as far as durability th it's not a big well Bonnie Roberts: I Jennifer Adon: maybe Bonnie Roberts: mean what Jennifer Adon: when Bonnie Roberts: I Jennifer Adon: it's Bonnie Roberts: see Jennifer Adon: closed. Bonnie Roberts: one of the things one of the things you brought up in Jennifer Adon: Mm-hmm. Bonnie Roberts: 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 Jennifer Adon: Mm-hmm. Bonnie Roberts: 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. Jean Hailey: Mm-hmm. Bonnie Roberts: But you guys are the ones that have to c ultimately create the product within cost. Lillian Copes: 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 Bonnie Roberts: Oh Lillian Copes: the scroll Bonnie Roberts: okay Lillian Copes: wheel comes at quite Bonnie Roberts: phew. Lillian Copes: a cost. Jennifer Adon: Yeah. Bonnie Roberts: 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 Jennifer Adon: Well Bonnie Roberts: that's something that can be integrated Jennifer Adon: The Bonnie Roberts: without a bunch of extra cost. Jennifer Adon: The locator's gonna require a radio transmitter, which Bonnie Roberts: Mm-hmm. Jennifer Adon: will Lillian Copes: That's gonna n is that gonna need a better chip as well? Jennifer Adon: Um Jean Hailey: No Jennifer Adon: we're Jean Hailey: it's Jennifer Adon: probably Jean Hailey: just Jennifer Adon: gonna Jean Hailey: different. Jennifer Adon: have to go with a like a medium chip, s I would imagine. But we I we will need a receiver, an antenna. Bonnie Roberts: Integrated, yeah. Jennifer Adon: Yeah. Bonnie Roberts: So it's just uh I I think that's Jennifer Adon: It should be a really simple signal though so Bonnie Roberts: 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. Lillian Copes: And it's presumably gonna need a little speaker in it or something like that as well to beep. Jennifer Adon: That's true yeah. Lillian Copes: But I guess a little tiny speaker is gonna be quite cheap, it's not gonna need q quality, Jennifer Adon: Oh yeah Lillian Copes: is it? It's Jennifer Adon: yeah. It'll be really cheap. Bonnie Roberts: 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 Jean Hailey: Maybe not. Lillian Copes: Makes your living room more fresh as Bonnie Roberts: Yeah Lillian Copes: you watch. Bonnie Roberts: yeah yeah yeah. Lillian Copes: Okay we're Jean Hailey: S Lillian Copes: doing well for time here. Um we've got about another ten minutes. I think that uh Jennifer Adon: So the scroll wheel, in or out? Lillian Copes: 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 Jean Hailey: Yeah. Lillian Copes: it's obvious and natural how it would be used. Jean Hailey: Yeah I think we have like and it's not very usable and it will bring down the robustness of the whole thing, 'cause Lillian Copes: Mm. Jean Hailey: it's Bonnie Roberts: Yeah. Jean Hailey: it it breaks down easier. Jennifer Adon: For Bonnie Roberts 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. Lillian Copes: But Bonnie Roberts: W Lillian Copes: then that that surely d depends a little on the T_V_ because some T_V_s are quite slow at changing channels from Jennifer Adon: Sure. Lillian Copes: 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 Bonnie Roberts: Yeah. Lillian Copes: do you have to go through and you wait for it? You scroll it a bunch of times and you wait Jennifer Adon: Well Lillian Copes: for Jennifer Adon: I Lillian Copes: it Jennifer Adon: think Lillian Copes: to Jennifer Adon: wh what it would be is like like the m like this, where it's maybe you know a digital wheel, Lillian Copes: Mm. Jennifer Adon: right, where it's where it's quantized into you know certain Bonnie Roberts: Oh Lillian Copes: Uh Bonnie Roberts: yeah. Lillian Copes: I see I see. That's where you Bonnie Roberts: Yeah. Jennifer Adon: That was that was my my intuition Lillian Copes: Ah I see Jennifer Adon: of what the Lillian Copes: I see Jennifer Adon: scroll Lillian Copes: what you're Jennifer Adon: wheel Lillian Copes: talking Jennifer Adon: would be. Lillian Copes: about now. Okay. Jennifer Adon: 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. Bonnie Roberts: 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 Lillian Copes: Yeah Bonnie Roberts: of going Lillian Copes: if you're Bonnie Roberts: button-to-bu Lillian Copes: just sitting there going Bonnie Roberts: you just j you'd j j j j j j. Jennifer Adon: Yeah. Bonnie Roberts: I Lillian Copes: That's Bonnie Roberts: really Lillian Copes: kinda cool actually. Bonnie Roberts: I really think Lillian Copes: I like Bonnie Roberts: that's Lillian Copes: that. Bonnie Roberts: a really cool thing for surfing. Jennifer Adon: 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. Bonnie Roberts: Well there's Jennifer Adon: But Bonnie Roberts: ano Lillian Copes: 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 Jennifer Adon: Right. Lillian Copes: the T_V_'s Bonnie Roberts: That's right. Lillian Copes: ge so if you send about five flip channels, if you did that it's gonna flip once. If Jennifer Adon: Yeah Lillian Copes: you Jennifer Adon: it Lillian Copes: do Jennifer Adon: just Lillian Copes: that. Jennifer Adon: might be frustrating where you Lillian Copes: Other Jennifer Adon: can't Lillian Copes: than Jennifer Adon: make Lillian Copes: click Jennifer Adon: it go Lillian Copes: click Jennifer Adon: as fast Lillian Copes: click. Jennifer Adon: as you want, but I think Lillian Copes: Yeah. Jennifer Adon: once people get used to it I I do like the idea of the scroll wheel though. Lillian Copes: 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. Jean Hailey: Mm-hmm. Bonnie Roberts: Yeah I think Lillian Copes: Primarily. Bonnie Roberts: so. I I Jean Hailey: Yep. Bonnie Roberts: 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. Lillian Copes: Mm-hmm. Bonnie Roberts: So I can go uh presuming I have, on my television, something that tells Bonnie Roberts 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 Bonnie Roberts 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. Lillian Copes: Mm-hmm. Bonnie Roberts: Okay? So ca can we can we create that kind of interface within a scroll system? You understand what I'm saying? Jennifer Adon: I think I know what you might be getting at, or Lillian Copes: Oh Jennifer Adon: or Lillian Copes: I see so if maybe if we had an L_C_D_ up the top that just did a number on it, right? Bonnie Roberts: Oh Lillian Copes: And Bonnie Roberts: no Lillian Copes: then Bonnie Roberts: we Lillian Copes: it Bonnie Roberts: could read Lillian Copes: that Bonnie Roberts: it Lillian Copes: basically Bonnie Roberts: from Jennifer Adon: Well, Bonnie Roberts: the television. Jennifer Adon: what about this what Lillian Copes: Mm. Jennifer Adon: about if you can programme in your favourite channels into this scroll wheel and you can just like roll through your favourite channels, Lillian Copes: Well that's Jennifer Adon: and Lillian Copes: quite Jennifer Adon: it c Lillian Copes: cool. You'd Jennifer Adon: it Lillian Copes: need a display on the th Jennifer Adon: Why? Lillian Copes: the thing. Jennifer Adon: It'll tell you when you flip the Bonnie Roberts: Yeah Jennifer Adon: channel Bonnie Roberts: the Jennifer Adon: on the Bonnie Roberts: the television Jennifer Adon: T_V_. Bonnie Roberts: can tell you. Jennifer Adon: Yeah. Bonnie Roberts: Can. Lillian Copes: Oh yeah yeah no I see what you're talking about. Yeah that's kinda cool. How would you program it though? Jennifer Adon: Well you just it's one extra button. You Bonnie Roberts: Put Jennifer Adon: say programme start, and then type in 'cause you still have the typing you know you'll still have the keypad where you Lillian Copes: Okay Jennifer Adon: can type Lillian Copes: okay. Jennifer Adon: 'em in manually. So programme start, zero, one, enter, zero, five, enter, thirty eight, enter, programme end. Bonnie Roberts: And then. Lillian Copes: Okay and yeah and that just basically flips between it and it'll go Jennifer Adon: Mm-hmm. Lillian Copes: it sends out zero, five, and then thirty six, and then Jennifer Adon: Mm-hmm. Lillian Copes: zero, one again. Yeah that's kinda cool. I like that. Bonnie Roberts: And again we have another another great marketing tool. We have about three we have three or four Lillian Copes: That's Bonnie Roberts: things Lillian Copes: not Bonnie Roberts: here. Lillian Copes: gonna be too expensive because that's gonna be you're gonna be able to nab that off of computer mouse manufacturers really. Jennifer Adon: Mm-hmm. Lillian Copes: You could basically come up with a partnership to be able to produce that quite cheaply. Bonnie Roberts: I dunno and Jean Hailey: Yeah. Bonnie Roberts: 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. Lillian Copes: Might be, but tha that's not gonna be such a costly feature. The problem we're gonna have is making it robust. Jennifer Adon: Oh well Lillian Copes: Making Jennifer Adon: we also Lillian Copes: it last. Jennifer Adon: have to determine in some manner how to switch between modes, between going through your favourites list and just hitting up one, up Bonnie Roberts: Or Jennifer Adon: two. Bonnie Roberts: we go directional up Lillian Copes: So if there's Bonnie Roberts: we Lillian Copes: a button Bonnie Roberts: go we go Lillian Copes: for Bonnie Roberts: this Lillian Copes: each Bonnie Roberts: we Lillian Copes: type. Bonnie Roberts: go this we go this way for one, we go this way for the other. Jennifer Adon: No because you wanna be able to go up and down through the channels. Lillian Copes: Yeah people are gonna Bonnie Roberts: Ah-ha Lillian Copes: have their favourite Bonnie Roberts: okay. Lillian Copes: sorta, whether Bonnie Roberts: Okay, Lillian Copes: they do that Bonnie Roberts: okay, Lillian Copes: or whether they Bonnie Roberts: well then you Jennifer Adon: Right. Bonnie Roberts: just have, you have a diff you have a mode Jennifer Adon: I think Bonnie Roberts: switch. Lillian Copes: Yeah Jennifer Adon: we'll need Lillian Copes: yeah Jennifer Adon: a Lillian Copes: the mode switch. Jennifer Adon: we'll need a mode switch, but then if we have a mode switch we're gonna need some kinda indicator Lillian Copes: Just Jennifer Adon: to Lillian Copes: the Jennifer Adon: which, Lillian Copes: lights behind Jennifer Adon: an Lillian Copes: the Jennifer Adon: L_E_ Lillian Copes: buttons. You Jennifer Adon: an Lillian Copes: could have Jennifer Adon: L_E_D_ Lillian Copes: back-lit buttons maybe. Jennifer Adon: okay. Lillian Copes: Would Jean Hailey: Yeah. Lillian Copes: that work? Is Jennifer Adon: Okay. Lillian Copes: 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. Jennifer Adon: 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 Bonnie Roberts: Yeah Jennifer Adon: range. Bonnie Roberts: yeah. Lillian Copes: I think Jennifer Adon: I wanna make Lillian Copes: we Jennifer Adon: sure Lillian Copes: are Jennifer Adon: everybody's Lillian Copes: yeah. Jennifer Adon: okay Bonnie Roberts: Well you Jennifer Adon: with Bonnie Roberts: had acknowledged Jennifer Adon: that. Bonnie Roberts: that we have more money for this. Lillian Copes: Yeah Bonnie Roberts: Didn't you Lillian Copes: well Bonnie Roberts: say Lillian Copes: we don't Bonnie Roberts: so? Lillian Copes: have it's not that we have more money, we can push up the the price. Bonnie Roberts: That's what I mean. We can Lillian Copes: Yeah. Bonnie Roberts: increase the cost. Jennifer Adon: Okay. Bonnie Roberts: So Lillian Copes: 'Kay. Bonnie Roberts: I don't know I don't Jennifer Adon: I just Bonnie Roberts: know Jennifer Adon: wanna Bonnie Roberts: whether Jennifer Adon: make Bonnie Roberts: having Jennifer Adon: sure everybody's on board with it. So Lillian Copes: 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? Bonnie Roberts: 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. Lillian Copes: 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. Jennifer Adon: Right. Lillian Copes: 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 Bonnie Roberts: Okay I'm I'm okay with that. I guess what I just want to Bonnie Roberts 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 Lillian Copes: But Bonnie Roberts: level. Lillian Copes: th what's our ballpark as to what we'd be able to sell something Jennifer Adon: Well Lillian Copes: like this Jennifer Adon: y yeah. Lillian Copes: for? Jennifer Adon: Let's let's try Bonnie Roberts: We have Jennifer Adon: and think Bonnie Roberts: to find Jennifer Adon: now, Bonnie Roberts: cost. Jennifer Adon: 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? Lillian Copes: But you've gotta think who our target market is because Jennifer Adon: I'm just asking Lillian Copes: I I'm Jennifer Adon: you. Lillian Copes: not our target market. I'm a student, but Jennifer Adon: If Lillian Copes: on the other hand I would think, mm with my Project Manager salary, I Jennifer Adon: Then Lillian Copes: would Jennifer Adon: you could probably Lillian Copes: think Jennifer Adon: afford Lillian Copes: yeah Jennifer Adon: this. Lillian Copes: 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 Bonnie Roberts on it a little. Then maybe you know. I do I don't think I'd go over a hundred Euro certainly, Jennifer Adon: Oh Lillian Copes: that would Jennifer Adon: no Lillian Copes: be way Jennifer Adon: no. Lillian Copes: too much, but the I would be happy paying over forty for it, I guess, Jennifer Adon: I would say thirty Lillian Copes: but not Jennifer Adon: five Lillian Copes: much Jennifer Adon: to forty. Bonnie Roberts: Yeah, I was gonna say thirty five to fifty. Lillian Copes: 'Kay. Thirty five to fifty Euros is our sales bracket okay. Jennifer Adon: Okay. Lillian Copes: So Bonnie Roberts: Because Lillian Copes: the question Bonnie Roberts: one of Lillian Copes: is Bonnie Roberts: th Lillian Copes: what Bonnie Roberts: one Lillian Copes: we ca Bonnie Roberts: of Lillian Copes: we Bonnie Roberts: the Lillian Copes: make Bonnie Roberts: things Lillian Copes: it Bonnie Roberts: we're Lillian Copes: for. Bonnie Roberts: marketing about this product is that this is the last one you will ever need to buy for Jennifer Adon: Right. Bonnie Roberts: your television. Lillian Copes: Mm. Bonnie Roberts: It's one of the marketing features in this. Lillian Copes: That's why the scroll needs to be really robust. Jean Hailey: 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, Bonnie Roberts: Mm-hmm. Jennifer Adon: With Jean Hailey: and Jennifer Adon: a cradle, radio Jean Hailey: and Jennifer Adon: transmitters, Jean Hailey: with a cradle, and yeah and the locator. Jennifer Adon: and back-lit buttons. And it's gonna look sexy. Jean Hailey: Or not. Jennifer Adon: Or not. It might look like clay. Jean Hailey: Okay so you can market Bonnie Roberts: Yeah yeah. Jean Hailey: pe depending Bonnie Roberts: Bas th that's Jean Hailey: on that? Bonnie Roberts: that's easy. That's that's not a, it's a. 'Cause we have about six, six, seven features in that alone. Lillian Copes: Yep. Bonnie Roberts: Under Jean Hailey: Cool. Bonnie Roberts: the title of uniquenesses. Jean Hailey: Hmm. Lillian Copes: 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 Bonnie Roberts: Well Lillian Copes: more Bonnie Roberts: I have Lillian Copes: like fifty. Bonnie Roberts: Is my three twenty one is the next meeting? Lillian Copes: The the ne next meeting is three twenty one yeah. Bonnie Roberts: That's that's almost uh fifty minutes. Lillian Copes: Yeah that is. Uh Bonnie Roberts: You guys Lillian Copes: they've Bonnie Roberts: can Lillian Copes: they've changed the times from the presentations. Bonnie Roberts: You guys you guys can uh create a All Jennifer Adon: Probably. Bonnie Roberts: kinds of things. Jennifer Adon: We'll let you know when we're done, if we can go earlier. Bonnie Roberts: Thanks, yeah. Lillian Copes: Okay so you guys will be getting your modelling done now Jennifer Adon: Yeah. Lillian Copes: 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? Jennifer Adon: I don't think so. If we have any questions we'll just email you I guess. Lillian Copes: Okay. Jean Hailey: Yeah I think it pretty much everything's covered. Lillian Copes: Okay. This one was quite easy. Jean Hailey: Coulda been worse. Bonnie Roberts: Still. Lillian Copes: Always the optimist. Jean Hailey: Yes I am. Lillian Copes: 'Kay thanks guys. Bonnie Roberts: Thank you. I don't have any emails. This means I can go home. Oh, we all leave.

Jean Hailey 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. Jennifer Adon 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. Bonnie Roberts 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. Jennifer Adon and Jean Hailey were instructed to construct the prototype.

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Tiffany Rush: So, I will open our functional design meeting. Stephanie Wolf: Mm-hmm. Tiffany Rush: So, I will play role of the secretary. As also Program Ma Manager. So, we will have the three presentations from the In Viola Freeman: Industrial Tiffany Rush: Industrial Viola Freeman: Design. Tiffany Rush: Designer, User Interface Designer and um Stephanie Wolf: Marketing Tiffany Rush: What's your Stephanie Wolf: Expert. Cynthia Fields: Okay. Tiffany Rush: talk? Marketing Experts. Stephanie Wolf: Mm. Tiffany Rush: 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 Cynthia Fields. Cynthia Fields: Okay. Tiffany Rush: Um, so you're participant two? Viola Freeman: One one. Cynthia Fields: No no no. Tiffany Rush: No you're Cynthia Fields: One. Tiffany Rush: No, I'm Viola Freeman: Three three, Tiffany Rush: participant Viola Freeman: it's three sorry. Cynthia Fields: I Tiffany Rush: one. Cynthia Fields: I think I'm a. Tiffany Rush: Okay, never mind. Stephanie Wolf: Okay. Tiffany Rush: 'Kay, did you save your presentation? Cynthia Fields: In one. Viola Freeman: In one, sorry. Stephanie Wolf: Yeah Tiffany Rush: Isn't that technical functions? Stephanie Wolf: No sure. Viola Freeman: So you didn't save it maybe. Cynthia Fields: It's mine. Stephanie Wolf: Uh Viola Freeman: Alright, Stephanie Wolf: it's Viola Freeman: so Stephanie Wolf: David Tiffany Rush: Name's Jordan. Stephanie Wolf: Jordan. Course. Tiffany Rush: So Viola Freeman: David Jordan? Cynthia Fields: Mm yeah. Viola Freeman: Mm-hmm. Stephanie Wolf: Mm-hmm. Tiffany Rush: so I'll I let David Jordan do his presentation. Cynthia Fields: Okay. Stephanie Wolf: No, no. Uh this one doesn't want Tiffany Rush: Uh. Stephanie Wolf: to be moved, I Viola Freeman: Too Stephanie Wolf: think. Viola Freeman: great for Cynthia Fields: Okay, Viola Freeman: email Cynthia Fields: so. Viola Freeman: then. Cynthia Fields: The first I will present the technical function design for user interface for our uh remote T_V_ control. Viola Freeman: Yeah. Cynthia Fields: Uh I I will focus on user interface design. Um Tiffany Rush: Mm. Cynthia Fields: 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. Tiffany Rush: So you propose to to have the Cynthia Fields: Uh Tiffany Rush: remote control which will be Cynthia Fields: With sophisticated Tiffany Rush: powerful. Cynthia Fields: functions, but Tiffany Rush: So Cynthia Fields: with Tiffany Rush: powerful, Cynthia Fields: very yeah powerful. Tiffany Rush: many functions Cynthia Fields: Yes. Tiffany Rush: and very easy to use. Cynthia Fields: Yep. Stephanie Wolf: So, I dunno, it's maybe difficult to Viola Freeman: To merge the Stephanie Wolf: have Viola Freeman: two system Stephanie Wolf: both, Viola Freeman: huh. Stephanie Wolf: I mean the Cynthia Fields: Yeah. Stephanie Wolf: the one on the right doesn't look so simple and Yeah. Tiffany Rush: You mean this one? Stephanie Wolf: Yeah. Tiffany Rush: Yeah you have to learn the manual before using this remote control, I suppose. Viola Freeman: Mm yep. But Cynthia Fields: But if we Viola Freeman: But Cynthia Fields: have Viola Freeman: this Cynthia Fields: very Viola Freeman: is Cynthia Fields: very good user interface Viola Freeman: Yeah. Cynthia Fields: it Stephanie Wolf: Yeah, Cynthia Fields: take Stephanie Wolf: and Cynthia Fields: less Stephanie Wolf: then Cynthia Fields: time Stephanie Wolf: Yeah. Cynthia Fields: for user to learn how to use it. Viola Freeman: 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. Tiffany Rush: Oh you mean for the yeah pic Viola Freeman: Yeah, Tiffany Rush: pictograms or things like Viola Freeman: yeah. Tiffany Rush: that? Viola Freeman: 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 Stephanie Wolf: Oh Viola Freeman: the Stephanie Wolf: it Viola Freeman: same. Stephanie Wolf: should okay, yeah. Viola Freeman: So Stephanie Wolf: The Viola Freeman: you Stephanie Wolf: user Viola Freeman: have Stephanie Wolf: should know. Viola Freeman: to The sh the user there for example the power off button it is something very international, you know that So. Tiffany Rush: Yeah um such as maybe the Viola Freeman: Yeah. So. Tiffany Rush: Go on, go back and Viola Freeman: Yeah, but the question is how to merge you know the Google system to the system, alright. Stephanie Wolf: Yeah, Cynthia Fields: Yeah, that's Stephanie Wolf: that's Cynthia Fields: my Stephanie Wolf: gonna Cynthia Fields: job. Stephanie Wolf: be the trick. Viola Freeman: That's your Cynthia Fields: That's my Viola Freeman: job Cynthia Fields: job. It's not the easiest I've got to. Viola Freeman: It you Tiffany Rush: So, you will propose us something which is yeah so powerful and easy to use. Cynthia Fields: Yep. Tiffany Rush: Okay. Stephanie Wolf: Okay. Cynthia Fields: Powerful and easy to use. Stephanie Wolf: So that's the point. Cynthia Fields: Yeah, that's the point. Tiffany Rush: So, next I propose the Industrial User Viola Freeman: Okay, Tiffany Rush: Interface to Viola Freeman: okay. Tiffany Rush: present things. So you you're Viola Freeman: Participant two. Yeah. Tiffany Rush: Um. Okay. Viola Freeman: The rationale Tiffany Rush: So, Viola Freeman: must Tiffany Rush: Baba is the uh the Viola Freeman: be Tiffany Rush: Industrial Viola Freeman: design, or Tiffany Rush: Designer. Okay. Viola Freeman: 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 Tiffany Rush: Mm-hmm. Viola Freeman: 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 Stephanie Wolf: Mm. Viola Freeman: I propose a nifra infrared base you know, so so for Stephanie Wolf 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 Stephanie Wolf: True. Tiffany Rush: So you mean that infrared control is a cheap technology? Viola Freeman: I think it's cheaper than laser, so. Tiffany Rush: Yeah. Stephanie Wolf: Okay. Tiffany Rush: Do y you know the requirements for the remote control? Twelve, Stephanie Wolf: What Tiffany Rush: nearly thirteen, Stephanie Wolf: the cost Tiffany Rush: yeah. Stephanie Wolf: is? Tiffany Rush: The Viola Freeman: Yeah, Tiffany Rush: cost Viola Freeman: I think Stephanie Wolf: Twelve, Viola Freeman: for the Stephanie Wolf: twelve Viola Freeman: cost Stephanie Wolf: a Viola Freeman: we Stephanie Wolf: half. Viola Freeman: 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 Tiffany Rush: Mm-hmm. Viola Freeman: and the bulb it will be somewhere inside. Stephanie Wolf: That might Viola Freeman: You can go Tiffany Rush: Okay. Viola Freeman: to Stephanie Wolf: just Viola Freeman: the next slide. I have Stephanie Wolf: So. Viola Freeman: some kind of pictures you know, here. You have the b the bulb, it is a blue the blue stuff here and Tiffany Rush: Yeah. Viola Freeman: 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. Tiffany Rush: What is this? Viola Freeman: This is in fact some other component that are in between the electrical de the electronic Tiffany Rush: Okay. Viola Freeman: device. Look. But here what I wanted to emphasise it is just you know the bulb and. Tiffany Rush: Okay. Viola Freeman: 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. Tiffany Rush: Okay. Viola Freeman: Okay, so Stephanie Wolf: Okay. Viola Freeman: if you have some question I didn't answer? Stephanie Wolf: What's the average price of this technology then? Viola Freeman: 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 Cynthia Fields: So what, the wireless remote control? There's a wire with remote control? Viola Freeman: 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. Cynthia Fields: Okay. Tiffany Rush: So you think that uh a cable between the remote control and the T_V_ Cynthia Fields: Okay. Tiffany Rush: won't be a good Cynthia Fields: Okay. Tiffany Rush: idea. No it wou maybe it will be cheaper I dunno, I just may maybe you making Stephanie Wolf: But this Tiffany Rush: a solu Stephanie Wolf: is what you would like to ask the user first and I don't think the user would be ready to have a Tiffany Rush: Yeah, Cynthia Fields: Wireless remote control. Tiffany Rush: but Viola Freeman: Yeah, but Stephanie Wolf: I don't Viola Freeman: some Stephanie Wolf: think Viola Freeman: pa Stephanie Wolf: well, yeah, I don't think he Viola Freeman: I always Stephanie Wolf: would, Viola Freeman: want to Stephanie Wolf: but Viola Freeman: have you Stephanie Wolf: in Viola Freeman: know, Stephanie Wolf: a Viola Freeman: sometime Stephanie Wolf: sense Viola Freeman: I want to have wire because Tiffany Rush: Yeah Viola Freeman: you Tiffany Rush: but Viola Freeman: know. Tiffany Rush: 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? Viola Freeman: Uh, I don't think it will be too much. Cynthia Fields: Okay. Tiffany Rush: Could you answer please? Viola Freeman: Have to think about the question, you know, 'cause it's I Tiffany Rush: Okay. Viola Freeman: 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. Tiffany Rush: Yeah, but I think the wireless problem is more the um David Jordan's problem. Cynthia Fields: Mm-hmm. Tiffany Rush: As it's Stephanie Wolf: The wire? Tiffany Rush: yeah. Stephanie Wolf: Yeah. True. Viola Freeman: Okay, Tiffany Rush: I think Viola Freeman: yeah. Tiffany Rush: it's more your problem. Mayb maybe you have just to to kind of research or Cynthia Fields: Mm-hmm. Tiffany Rush: try to ask people if they will like something wireless or not. Stephanie Wolf: Uh that's my job. That's the Tiffany Rush: Okay, I'm sorry. So Stephanie Wolf: Now the Viola Freeman: 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. Cynthia Fields: Okay. Tiffany Rush: So just think of um the usability. Cynthia Fields: Design a wireless Tiffany Rush: Yeah. Cynthia Fields: remote control. Tiffany Rush: Just think of the problem. If when you have wireless remote control and if you lose Cynthia Fields: Yeah. Tiffany Rush: it? Stephanie Wolf: Yeah. Tiffany Rush: I think it's would be easier to have a link between the remote control and Stephanie Wolf: Well that's actually one of the Tiffany Rush: the Stephanie Wolf: point, Tiffany Rush: television, Stephanie Wolf: yeah? Tiffany Rush: yeah. Stephanie Wolf: True. This you will see in my presentation then. Tiffany Rush: So I will let you Stephanie Wolf: Yeah. Tiffany Rush: to do Viola Freeman: Okay. Tiffany Rush: your presentation, so. Stephanie Wolf: 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. Viola Freeman: Mm-hmm. Stephanie Wolf: 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 Tiffany Rush: You mean the loo the Viola Freeman: The Tiffany Rush: look, Viola Freeman: look, Tiffany Rush: the Viola Freeman: how Tiffany Rush: outside? Viola Freeman: it look Tiffany Rush: Okay. Stephanie Wolf: Yeah, Viola Freeman: like. Stephanie Wolf: 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, Viola Freeman: Yeah. Stephanie Wolf: 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 Stephanie Wolf. But I'll come back to it later. 'Kay. Could you go next slide? Uh, so as you said Tiffany Rush: Mm-hmm. Stephanie Wolf: 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. Tiffany Rush: What is R_S_I_? Stephanie Wolf: R_S_I_ is like, when you're using the same um doing the same movement several times, Viola Freeman: Yeah. Stephanie Wolf: then you get injured. Tiffany Rush: Ah um Stephanie Wolf: Okay? Tiffany Rush: okay. Stephanie Wolf: 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. Viola Freeman: Okay. Tiffany Rush: Mm-hmm. Stephanie Wolf: And definitely if it could have less buttons, still maybe the same number of um Cynthia Fields: Functions. Stephanie Wolf: functions, but less buttons, this would definitely be a good way of selling more. Viola Freeman: Okay. Stephanie Wolf: Okay. So Tiffany Rush: Mm okay. And just to have uh an idea, do you think you as Cynthia Fields to would it be possible to have less buttons and Cynthia Fields: Yeah. Tiffany Rush: still have the same functionality and to have powerful remote control, you think it's possible? Sure? Cynthia Fields: Yeah, I think Tiffany Rush: Yeah? Cynthia Fields: possible. Because we can We can uh mix uh several function in one button. Tiffany Rush: Yeah. Cynthia Fields: So lets you then you have less buttons. Tiffany Rush: Yeah, but Cynthia Fields: But I'm Tiffany Rush: do you Cynthia Fields: not Tiffany Rush: think Cynthia Fields: sure Tiffany Rush: 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. Stephanie Wolf: Yeah, remember the user is not happy to read the Tiffany Rush: Yeah, Viola Freeman: The manuals. Tiffany Rush: I think Stephanie Wolf: manual. Tiffany Rush: the Stephanie Wolf: It's Cynthia Fields: No you you can have a switch menu, so you can Tiffany Rush: Yeah, Cynthia Fields: well Tiffany Rush: but Cynthia Fields: for example Tiffany Rush: it has to be intuitive. Cynthia Fields: 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 Tiffany Rush: Yeah, Cynthia Fields: you put Tiffany Rush: okay. Cynthia Fields: the switch menu to it it tend to this kind of this category of functions. Tiffany Rush: Okay, Cynthia Fields: Then you Tiffany Rush: but Cynthia Fields: 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. Viola Freeman: With Cynthia Fields: So Viola Freeman: a Cynthia Fields: 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. Tiffany Rush: Yeah, Cynthia Fields: But Tiffany Rush: but Cynthia Fields: what I'm not so sure is about how to make the remote control look funny look Viola Freeman: Look Cynthia Fields: fancy, Viola Freeman: fancy. Cynthia Fields: not funny. Viola Freeman: question that should Cynthia Fields: Because Viola Freeman: be asked to the Cynthia Fields: different people have a different opinion about fancy. You know. Viola Freeman: If you Stephanie Wolf: Yeah. Viola Freeman: ask the people, maybe the the marketing people. Stephanie Wolf: Yeah, this Cynthia Fields: Because Stephanie Wolf: is something Cynthia Fields: maybe Stephanie Wolf: we Cynthia Fields: a Stephanie Wolf: sh Cynthia Fields: colourful is fancy for some people, but maybe Tiffany Rush: Mm-hmm. Cynthia Fields: simple and Stephanie Wolf: But this was Cynthia Fields: uh uniform Stephanie Wolf: first step and Cynthia Fields: colourful is fancy for some for other peoples, so. Stephanie Wolf: This Viola Freeman: I think Stephanie Wolf: was Viola Freeman: the solution Stephanie Wolf: the first step, yeah. Viola Freeman: is to have many colours of you know instead of having one grey Tiffany Rush: Yeah, but I Viola Freeman: standard Tiffany Rush: think it will increase the price of the production Stephanie Wolf: Specially distribution, Tiffany Rush: of the remote Stephanie Wolf: yeah. Tiffany Rush: control. Viola Freeman: Yeah, yeah, maybe. Yeah, maybe. Tiffany Rush: If you need to have special colours for remote Stephanie Wolf: Uh Tiffany Rush: controls it will Cynthia Fields: Yeah, personalised Tiffany Rush: cost more. Cynthia Fields: colour. Because you Tiffany Rush: Yeah, Cynthia Fields: know Tiffany Rush: it will cost little bit more. Cynthia Fields: Yeah, because maybe some people prefer a red remote Viola Freeman: Yeah, Cynthia Fields: control, Viola Freeman: yeah, Cynthia Fields: some people Viola Freeman: yeah. Cynthia Fields: prefer black remote Stephanie Wolf: Yeah, but Cynthia Fields: control. Stephanie Wolf: this is what we would ask to the users, so. Tiffany Rush: And Cynthia Fields: Maybe Tiffany Rush: also Cynthia Fields: we Tiffany Rush: f Cynthia Fields: can have di Stephanie Wolf: Yeah. Cynthia Fields: di we can have uh several options, so user can select which colour they prefer, so. Tiffany Rush: Yeah, but as soon as you speak about options, Cynthia Fields: Mm-hmm. Tiffany Rush: it means Stephanie Wolf: Yeah, remember Tiffany Rush: that the price increases, Stephanie Wolf: it's Tiffany Rush: and we don't really want Stephanie Wolf: twelve Tiffany Rush: the Stephanie Wolf: Euros. Tiffany Rush: 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 Cynthia Fields: Mm-hmm. Tiffany Rush: is not that good if you want to zap a lot. Stephanie Wolf: Hmm. Tiffany Rush: And they don't really want to zap between functions of their remote control, Cynthia Fields: Mm-hmm. Tiffany Rush: they want to zap between channels on T_V_. So I think you have quite lot of points to to think about Viola Freeman: Yeah. Tiffany Rush: and to discuss it with Viola Freeman: Yeah, Cynthia Fields: Yeah. Tiffany Rush: uh Viola Freeman: hmm. Tiffany Rush: the other members. So, is it okay for your presentation? Nothing else Stephanie Wolf: Yeah, it's Tiffany Rush: to Stephanie Wolf: done, Tiffany Rush: to add? Stephanie Wolf: just yeah. If we would if we could remember like, not too many buttons and make it look fancy, I think Tiffany Rush: Mm-hmm. Stephanie Wolf: it would Tiffany Rush: Okay. Stephanie Wolf: make it. Tiffany Rush: Mm so So, Stephanie Wolf: So. Tiffany Rush: 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, Cynthia Fields: Mm-hmm. Tiffany Rush: as it's something that's It's is uh Stephanie Wolf: Lame, Tiffany Rush: No Stephanie Wolf: or Tiffany Rush: yeah, internet at home, Cynthia Fields: Mm-hmm. Tiffany Rush: so it's better to use internet then teletext. Cynthia Fields: Yeah. Tiffany Rush: So, you will have to think about it in your in in the design of your remote control, Viola Freeman: Yep. Tiffany Rush: 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 Cynthia Fields: Control. Tiffany Rush: yeah to control the recorder or Cynthia Fields: Mm-hmm. Tiffany Rush: maybe the garage door or things like that. It's Stephanie Wolf: Mm-hmm Tiffany Rush: because if we want to to do remote control Cynthia Fields: Mm. Tiffany Rush: 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? Cynthia Fields: Okay. But there's balance between function Tiffany Rush: So maybe Cynthia Fields: and the Tiffany Rush: it Cynthia Fields: cost. Tiffany Rush: will be easier for you to to design it, to have Cynthia Fields: Yeah. Tiffany Rush: very Cynthia Fields: Okay. Tiffany Rush: powerful and easy. And also we want the image of the uh um real reaction Cynthia Fields: Mm-hmm. Tiffany Rush: be recognisable in the product, such as the colour and s the slogan. Stephanie Wolf: Yeah. Tiffany Rush: 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 Cynthia Fields: Mm-hm. Tiffany Rush: directly that s it's our product. Stephanie Wolf: Mm-hmm. Tiffany Rush: So you will have to use the colour of the product, Cynthia Fields: Okay. Tiffany Rush: of the um um of the uh of real reaction Cynthia Fields: Okay. Viola Freeman: So. Tiffany Rush: and uh also Stephanie Wolf: So has to be yellow. Tiffany Rush: Yeah. Viola Freeman: Yellow. Tiffany Rush: As we say, we put the fashion in electronics, so it has to be a fashion remote control. Cynthia Fields: Okay. Tiffany Rush: Fancy, fashion, powerful, easy to use. Cynthia Fields: Mm-hmm. Tiffany Rush: Require lot of requirements, but Cynthia Fields: Yeah. Viola Freeman: For cheap remote control, Cynthia Fields: And cheap. Viola Freeman: yeah. Tiffany Rush: Yeah. Cynthia Fields: A low cost. Tiffany Rush: Yeah. But uh that's your your job Viola Freeman: Yeah. Tiffany Rush: to find something mm Viola Freeman: Yeah, Tiffany Rush: matches. Viola Freeman: 'cause what I'm thinking is how will you will connect the T_V_ to internet, so. This is Stephanie Wolf: I don't think it's part of the remote control design anyway. Tiffany Rush: Maybe not, Stephanie Wolf: It's Tiffany Rush: but mayb Stephanie Wolf: maybe more in browsing. Viola Freeman: Yeah, but this this mean that your T_V_ would be able to, you know, connect to internet, you know, surf the web. Cynthia Fields: Yeah, there's that box in Stephanie Wolf: Yeah. Cynthia Fields: 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_. Viola Freeman: Okay. Cynthia Fields: Ok Stephanie Wolf: Hm-mm. Cynthia Fields: It's It's not so uh popular now. Viola Freeman: It's pop I don't think it's popular, so that's the Cynthia Fields: Mm. Viola Freeman: problem so. You had i if you are designing a remote control for you know the global Cynthia Fields: Global, Viola Freeman: usage, Cynthia Fields: okay. Viola Freeman: so if people don't have the technology. Tiffany Rush: So. Stephanie Wolf: Mm-hmm. Tiffany Rush: So Cynthia Fields: So Tiffany Rush: everybody Cynthia Fields: I I Tiffany Rush: is Cynthia Fields: so Tiffany Rush: okay with the new requirements? Cynthia Fields: As as for the colour, what what do you think? Tiffany Rush: I think it has to be yellow. Viola Freeman: Yellow? Tiffany Rush: Yeah. Viola Freeman: Do you Cynthia Fields: Yellow? Viola Freeman: think that people like the colour Cynthia Fields: T_V_ Viola Freeman: yellow? Cynthia Fields: remote control? Stephanie Wolf: Min Tiffany Rush: Maybe you can change the colour, Cynthia Fields: Okay. Tiffany Rush: but the image of the society has to be recognised. Cynthia Fields: Okay. Stephanie Wolf: Yeah. Viola Freeman: I think Tiffany Rush: Why Viola Freeman: if Tiffany Rush: you Viola Freeman: you Tiffany Rush: go Viola Freeman: have you know th like a yellow ribbon here is the double R_. Tiffany Rush: It has to be fashion. Viola Freeman: Or should be. Yeah, so. Doesn't Cynthia Fields: Okay. Tiffany Rush: So you Viola Freeman: need to be completely Tiffany Rush: have to Viola Freeman: yellow, but just mm. Tiffany Rush: 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 Cynthia Fields: Okay, Tiffany Rush: re reaction Cynthia Fields: okay. Tiffany Rush: remote control, so. Cynthia Fields: Okay. Tiffany Rush: And also it has to be attractive, of Cynthia Fields: Mm. Tiffany Rush: course, because if you want to sale to sell the remote control. It's okay? Stephanie Wolf: Regarding the first line, what So we're just expecting no more use of the teletext. Tiffany Rush: Yeah. Stephanie Wolf: And that's it. Tiffany Rush: Yeah. Viola Freeman: But I dunno, but why, nobody's a threat to Stephanie Wolf. Stephanie Wolf: It's already changed for Tiffany Rush: I think it would be simpler. Stephanie Wolf: Mm-hmm. Tiffany Rush: 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 Viola Freeman: Industrial Tiffany Rush: industr Stephanie Wolf: Industrial Designer. Viola Freeman: Designer, Tiffany Rush: Industrial Viola Freeman: yeah. Tiffany Rush: Designer to put Viola Freeman: Component Tiffany Rush: um pon Viola Freeman: component, Tiffany Rush: yeah, Viola Freeman: yeah. Tiffany Rush: and Cynthia Fields to work on the user interface concept. Cynthia Fields: Okay. Tiffany Rush: And Florent to work my subject. Stephanie Wolf: Yep. Tiffany Rush: And so specific instructions will be sent to you by your personal coach. Stephanie Wolf: Okay. Tiffany Rush: It's okay? Stephanie Wolf: Yeah. Tiffany Rush: I think the um session is closed. Viola Freeman: Good. Tiffany Rush: And by the way, Mister David Jordan, please record your presentations in your own folder. Viola Freeman: Okay Cynthia Fields: Okay. Tiffany Rush: Not in mine. Viola Freeman: Okay, Cynthia Fields: Okay. Viola Freeman: that's Tiffany Rush: Should Viola Freeman: clear. Tiffany Rush: be better.

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

Alice Curtis 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. Patty Franklin 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.

amisum

train

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

Susan Birnbaum and Shirley Curtis 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.

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Rebecca Rodriquez: Okay. Good morning everybody. Melissa Santana: Good morning. Rebecca Rodriquez: Oh, everybody is not ready. Belinda Vega: Uh almost. Ready. Rebecca Rodriquez: 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 Rebecca Rodriquez. Um you are the Belinda Vega: I'm uh Michael. Belinda Vega. Rebecca Rodriquez: Okay. Mary Busbee: Hi I'm Guillermo. I'm Mary Busbee. Melissa Santana: And I am, Melissa Santana. Rebecca Rodriquez: 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? Belinda Vega: Ah well Rebecca Rodriquez: Mister. Belinda Vega: if no one else wants to, yeah. Okay so, want Mary Busbee to draw my favourite animal. Let's see. Belinda Vega: Well, I don't really have a favourite animal, but um uh Rebecca Rodriquez: You have one in mind? Belinda Vega: 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, Rebecca Rodriquez: Okay. Belinda Vega: that's Rebecca Rodriquez: Th Belinda Vega: my animal. Rebecca Rodriquez: thank you. Very interesting. Guillermo you want to? Mary Busbee: 'kay I dunno why, but when I was a child I I wanted to be a a panther not a pink panther, Melissa Santana: But don't Mary Busbee: or Melissa Santana: you Mary Busbee: maybe Melissa Santana: think Mary Busbee: yes. Melissa Santana: it's very difficult to draw a panther? Mary Busbee: Uh yeah yeah. Melissa Santana: So bad Rebecca Rodriquez: It Melissa Santana: I don't like Rebecca Rodriquez: would be Melissa Santana: it. Rebecca Rodriquez: very funny for us. Oh. Mary Busbee: Okay it's a friendly panther. Belinda Vega: Maybe it's happy 'cause it just ate someone. Mary Busbee: 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 Mary Busbee a lot. Rebecca Rodriquez: Okay. Thank Mary Busbee: Okay. Rebecca Rodriquez: you. Hemant. Melissa Santana: Um sure. Belinda Vega: So you don't like pink panthers? Mary Busbee: I like it. Melissa Santana: 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 Rebecca Rodriquez: Poor elephant. Melissa Santana: 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 Belinda Vega: So Melissa Santana: elephants. Belinda Vega: is this uh an Indian or an African elephant, 'cause you haven't drawn Melissa Santana: There Belinda Vega: the Melissa Santana: are Belinda Vega: ears? Melissa Santana: 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? Rebecca Rodriquez: Yes. We have to I Melissa Santana: Wind Rebecca Rodriquez: have Melissa Santana: up? Rebecca Rodriquez: to catch you, sorry. Melissa Santana: Okay, Rebecca Rodriquez: We have to to Melissa Santana: some Rebecca Rodriquez: go through Melissa Santana: other time. Rebecca Rodriquez: the meeting. Belinda Vega: Okay. Melissa Santana: Thank you. Rebecca Rodriquez: Thank you. Belinda Vega: We can discuss that off-line. Rebecca Rodriquez: Yeah we'll discuss a f a fly or do we'll do another meeting abo on Melissa Santana: Thanks. Rebecca Rodriquez: 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. Belinda Vega: 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? Rebecca Rodriquez: O this is the next topic we have to discuss exactly, Belinda Vega: Okay, alright. Rebecca Rodriquez: 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. Belinda Vega: 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 Rebecca Rodriquez: Okay. Belinda Vega: because it seems quite a lot for a remote control, so Rebecca Rodriquez: Okay Belinda Vega: it's Rebecca Rodriquez: I think this is more a job to our Melissa Santana: Marketing Rebecca Rodriquez: market Melissa Santana: person. Belinda Vega: Yeah. Rebecca Rodriquez: person yeah. Melissa Santana: Mm-hmm. Rebecca Rodriquez: 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? Mary Busbee: Yeah. Rebecca Rodriquez: Um you will receive some information by emails, i as usual. Thanks for coming today. Belinda Vega: Okay. Melissa Santana: Thanks. Rebecca Rodriquez: Thanks. Belinda Vega: Alright.

Rebecca Rodriquez Sebastian opens the meeting. The rest introduce themselves, including Michael the interface designer, Guillermo Mary Busbee, and Hemant Melissa Santana. Rebecca Rodriquez 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. Rebecca Rodriquez closes the meeting, telling each group member what he is responsible for and reminding them that they will receive more information by email.

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Stephenie Pratt: Okay everybody is ready? Good morning again So. today we are going to have a f second meeting. Oh Michael, Ruby Jackson: Yep. Stephenie Pratt: hi. You're late. You have a good reason for that? Ruby Jackson: Yes. Stephenie Pratt: 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. Angeline Jones: Yep. Stephenie Pratt: You showed us you ar you you prepare Angeline Jones: Yeah. Stephenie Pratt: something for us? Angeline Jones: Yep. Stephenie Pratt: The U_I_ guy also uh work on that, yeah, and for the mar Ruby Jackson: Mm. Stephenie Pratt: 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? Angeline Jones: Mm-hmm. Ruby Jackson: Uh the Powerstick Stephenie Pratt: Powerstick, yeah. What else? What else? Dale Fritz: Uh. Ruby Jackson: Maybe a Spanish name Dale Fritz: Mm Ruby Jackson: would Dale Fritz: I Ruby Jackson: work Dale Fritz: was Ruby Jackson: well. Dale Fritz: thinking Ruby Jackson: Especially Dale Fritz: of Ruby Jackson: if we're selling Dale Fritz: the Ruby Jackson: 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. Dale Fritz: Mando. Ruby Jackson: Mando. What Stephenie Pratt: Mango? Ruby Jackson: is that? Stephenie Pratt: Mango? Dale Fritz: Mando. Stephenie Pratt: Mando. M_A_? M_A_? Dale Fritz: A_N_ yeah D_O. Stephenie Pratt: M_ D_O_. Mm, okay. Dale Fritz: It doesn't it doesn't sound Stephenie Pratt: What does it mean? Dale Fritz: cool for Dale Fritz, but Stephenie Pratt: Oh. Dale Fritz: maybe for a Spanish for I for Ruby Jackson: What does it mean in Spanish? Dale Fritz: Control. Ruby Jackson: Control. Stephenie Pratt: Hmm. Ruby Jackson: Okay. Stephenie Pratt: Nice. Ruby Jackson: 'Cause it also like in English it sounds like you know the man's tool you know because you know Dale Fritz: But Ruby Jackson: men Dale Fritz: mm, Ruby Jackson: like to have control Dale Fritz: yeah. Ruby Jackson: of the remote so it Dale Fritz: Mando Ruby Jackson: might Dale Fritz: sounds Latino. Ruby Jackson: The Mando. Stephenie Pratt: Okay. So, let's go for Mando? Yeah? Angeline Jones: Yeah, Stephenie Pratt: No objection? Angeline Jones: yeah. Ruby Jackson: Yeah that's. Stephenie Pratt: Great. Ruby Jackson: And Stephenie Pratt: So Ruby Jackson: 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 Stephenie Pratt: Okay, I think Ruby Jackson: Although Stephenie Pratt: this Ruby Jackson: you don't Stephenie Pratt: is Ruby Jackson: wanna cut uh cut women out of Stephenie Pratt: Okay. Ruby Jackson: the uh potential buyers though, do you? So Angeline Jones: Yeah they are the most T_V_ watcher. So we should be careful. Ruby Jackson: Yeah. Stephenie Pratt: Okay, I think this is more a question of Dale Fritz: But yeah Ruby Jackson: Marketing. Stephenie Pratt: of Dale Fritz: it Stephenie Pratt: I Dale Fritz: uh Stephenie Pratt: I think this is more a question of of look and feel. Something that should be addressed later. We should Dale Fritz: Yeah Stephenie Pratt: we should go to Dale Fritz: because Stephenie Pratt: other Dale Fritz: if the product Stephenie Pratt: for the other topics. Dale Fritz: will be international Ruby Jackson: Well that's the thing. We need to know who we're selling it to before we can really decide on a Stephenie Pratt: Yeah okay, so Ruby Jackson: Um. Stephenie Pratt: 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? Dale Fritz: Maybe Stephenie Pratt: So Dale Fritz: maybe Stephenie Pratt: maybe Dale Fritz: I Stephenie Pratt: we Dale Fritz: should Stephenie Pratt: could Dale Fritz: uh start. Stephenie Pratt: start with the market, yeah. Dale Fritz: Yeah. Mm. Okay. Stephenie Pratt: Okay so I have your slides somewhere? Dale Fritz: Yeah. Should be in participant four. Stephenie Pratt: Participant four. Dale Fritz: Yeah, Stephenie Pratt: This one? Dale Fritz: yeah. Dale Fritz: Uh. Stephenie Pratt: S that's coming. Uh Ruby Jackson: Yeah. Angeline Jones: Yep. Stephenie Pratt: okay. Great. Dale Fritz: Okay so yeah will I will give a brief outline about what I what I prepared for this meeting. Stephenie Pratt: Mm-hmm. Dale Fritz: 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 Stephenie Pratt: Okay. Dale Fritz: Yeah. Stephenie Pratt: Sh next slide? Okay. Dale Fritz: 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. Stephenie Pratt: Mm-hmm. Dale Fritz: 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. Stephenie Pratt: Okay. Dale Fritz: 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? Ruby Jackson: More likely. Dale Fritz: 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. Ruby Jackson: 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 Dale Fritz: Yeah. Ruby Jackson: cut out some a lot of your market. Dale Fritz: I dunno I th Anyway I think it could be int interesting to to release some a a small fraction of Angeline Jones: Well Dale Fritz: of Angeline Jones: maybe Dale Fritz: this Angeline Jones: it could be a Dale Fritz: remote Angeline Jones: universal Dale Fritz: controls. Angeline Jones: design. Dale Fritz: Sorry? Angeline Jones: A universal design, which is which is good for both the hands. Dale Fritz: Yeah. Ruby Jackson: Still Angeline Jones: Yeah? Ruby Jackson: shaped for yeah for your hand but not for a particular Angeline Jones: That's right, Ruby Jackson: hand, Dale Fritz: Yeah. Ruby Jackson: right? Angeline Jones: 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? Dale Fritz: Sorry? Angeline Jones: The first and the third point, they are clashing. Ruby Jackson: Well it can still be a, you can still extend past Dale Fritz: Yeah. Ruby Jackson: the hand. Stephenie Pratt: Yeah. Angeline Jones: Okay. Dale Fritz: Like Ruby Jackson: Uh. Dale Fritz: uh Angeline Jones: So fitting the hand doesn't mean much then. Ruby Jackson: Well it means like, this remote here is kind of is very thin and long so instead Angeline Jones: Mm-hmm Ruby Jackson: of having Angeline Jones: mm-hmm. Ruby Jackson: you know you might have it kind of Dale Fritz: Yeah, Ruby Jackson: a Dale Fritz: like Ruby Jackson: bit bigger or, you know, with maybe some some Angeline Jones: Mm-hmm Ruby Jackson: finger Angeline Jones: mm-hmm Ruby Jackson: molds Angeline Jones: mm-hmm. Ruby Jackson: or something. Angeline Jones: So it means design should be similar to the traditional ones? Little sleek, longer? Dale Fritz: No no Angeline Jones: And Dale Fritz: I was Angeline Jones: it should Dale Fritz: thinking Angeline Jones: fit Dale Fritz: of Angeline Jones: the Dale Fritz: so Angeline Jones: hand. Dale Fritz: like Stephenie Pratt: Something Dale Fritz: something Stephenie Pratt: with the shape of the palm? Dale Fritz: yeah. Angeline Jones: Mm-hmm mm-hmm mm-hmm. Ruby Jackson: Some Dale Fritz: Yeah. Ruby Jackson: finger grips maybe. You could even have some buttons like you know Stephenie Pratt: On Dale Fritz: Yeah Stephenie Pratt: the sides. Dale Fritz: yeah. Ruby Jackson: on Dale Fritz: It Ruby Jackson: the sides Dale Fritz: sh it shouldn't Ruby Jackson: and everything, Dale Fritz: it shouldn't Ruby Jackson: but Dale Fritz: be symmetric symmetrical. Angeline Jones: Mm-hm Dale Fritz: Not Angeline Jones: mm-hmm Dale Fritz: anymore. Angeline Jones: mm-hmm. Dale Fritz: That's what yeah. Stephenie Pratt: And then finally Dale Fritz: 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 Ruby Jackson: Yeah. Dale Fritz: be large Stephenie Pratt: Yeah. Dale Fritz: enough. Stephenie Pratt: First I'm just wondering about the L_C_D_ stuff Dale Fritz: But Stephenie Pratt: because Dale Fritz: most of Stephenie Pratt: uh Dale Fritz: yeah Stephenie Pratt: because Dale Fritz: most of the young people to thirty to thirty years old were really interested in this kind of technology. Stephenie Pratt: Yeah, so maybe it's a good time for Dale Fritz 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_. Ruby Jackson: Yeah. Stephenie Pratt: Okay, I dunno if you had this information already. Ruby Jackson: No. Stephenie Pratt: No, so they want us to restrict the remote control to T_V_ only because of time limitations. Um they want also Dale Fritz: Actually Stephenie Pratt: uh Dale Fritz: this marketing report is restricted to T_V_ remote controls. Stephenie Pratt: 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 Ruby Jackson: 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 Stephenie Pratt: Yeah yeah. Ruby Jackson: yeah. Stephenie Pratt: Sure sure. So maybe we can jump to your presentations, Ruby Jackson: Yep. Stephenie Pratt: right Ruby Jackson: Okay. Stephenie Pratt: now. Okay so let's keep in mind about tha that that this last point about L_C_D_ and speech uh Ruby Jackson: Yeah. I Stephenie Pratt: reco Ruby Jackson: 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 Stephenie Pratt: Sorry, what is your? Ruby Jackson: Uh participant three. You might have some background noise from the T_V_ which will make the speech recognition much uh Dale Fritz: Yeah but you should Ruby Jackson: harder, Dale Fritz: be able to Ruby Jackson: so. Dale Fritz: activate or disactivate, so yeah Ruby Jackson: Oh you press Dale Fritz: yeah. Ruby Jackson: a press a button to talk, and the Dale Fritz: Yeah Ruby Jackson: the T_V_ Dale Fritz: uh channel Ruby Jackson: the T_V_ Dale Fritz: fifty. Ruby Jackson: sound turns off. Dale Fritz: Yeah. Angeline Jones: 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. Ruby Jackson: Yeah. Angeline Jones: Because this kind of thing means speech is there from the T_V_ also. Ruby Jackson: Yeah. Angeline Jones: So there should be something command controlled, you start Ruby Jackson: Mm. Angeline Jones: and then you stop. Ruby Jackson: Yeah. Angeline Jones: It's like V_I_ editor, you are having two modes similarly. Otherwise it's just lying idle. Stephenie Pratt: Okay Michael. Ruby Jackson: Okay, so, could I describe the mouse maybe be Stephenie Pratt: Sorry? Ruby Jackson: easier to could I use the mouse, or Stephenie Pratt: Um yeah. Ruby Jackson: Mm. Thanks. Okay. Stephenie Pratt: The wheel doesn't work. Ruby Jackson: 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. Stephenie Pratt: Looks like a P_D_A_? Ruby Jackson: 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 Angeline Jones: Change Ruby Jackson: the Angeline Jones: the channels. Ruby Jackson: change the channel. Angeline Jones: Yeah. Ruby Jackson: 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 Angeline Jones: Mmm-hmm Ruby Jackson: pad. I usually Angeline Jones: mm-hmm. Ruby Jackson: use the up and down Angeline Jones: Yeah yeah. Ruby Jackson: 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. Stephenie Pratt: Mm-hmm. Ruby Jackson: 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 Angeline Jones: But Ruby Jackson: the one Angeline Jones: there Ruby Jackson: you Angeline Jones: is Ruby Jackson: want. Angeline Jones: one Ruby Jackson: So Angeline Jones: problem then the user has to understand each of that functionality. Stephenie Pratt: Mm-hmm. Ruby Jackson: Yeah well Angeline Jones: Because Ruby Jackson: we w Angeline Jones: the same button is doing too many things. Ruby Jackson: 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. Angeline Jones: Mm-hmm. Ruby Jackson: Um I I would if I had my perfect remote control, I'd probably just have no numbers at all on it because Angeline Jones: Mm-hmm. Ruby Jackson: 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 Angeline Jones: Mm-hmm. Ruby Jackson: 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 Dale Fritz: 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 Angeline Jones: It does Dale Fritz: very Angeline Jones: sampling Dale Fritz: different Angeline Jones: out of Dale Fritz: build very Angeline Jones: the. Dale Fritz: different to Ruby Jackson: Well I guess Dale Fritz: the traditional Ruby Jackson: that depends on how you market it. If you if you have the right advertisement showing how how Dale Fritz: If Ruby Jackson: how easy Dale Fritz: y Ruby Jackson: it is and how you can, you know, navigate to a program without the numbers, then people might say that looks pretty easy. Stephenie Pratt: Okay, Ruby Jackson: So, Stephenie Pratt: can Ruby Jackson: but Stephenie Pratt: you continue, Ruby Jackson: yep. Stephenie Pratt: please Mi? Ruby Jackson: 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, Stephenie Pratt: Mm-hmm. Ruby Jackson: 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 Stephenie Pratt: Okay. Ruby Jackson: cool, since we say we're putting the fashion in electronics. Stephenie Pratt: Okay. Okay, thanks. Angeline Jones: Yep. Stephenie Pratt: you Angeline Jones: So Stephenie Pratt: want to go? Angeline Jones: yeah. So most of the things which we are discussing about is speech recognition uh, that means Stephenie Pratt: This Angeline Jones: on Stephenie Pratt: one? Angeline Jones: my own I yeah, it should be. Stephenie Pratt: Great. No, not that one. you are two. Angeline Jones: Two. Stephenie Pratt: Alright. Angeline Jones: 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. Stephenie Pratt: Okay, sorry to interrupt you, but we have seen before that there is a new way of interacting that use wheel. Angeline Jones: That's right. So anyway, that didn't come into my mind, Stephenie Pratt: Okay. Angeline Jones: 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, Stephenie Pratt: Mm-hmm. Angeline Jones: 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. Stephenie Pratt: Yeah. That increases the the cost also. Angeline Jones: Uh that's right. But uh means we have to see how much what kind of microphones and stuff like that. Stephenie Pratt: Do you think that performance of such systems are enough to to target well of such technologies is enough? Angeline Jones: Uh yes, if it is limited vocabulary usually it's enough. Stephenie Pratt: Okay. Angeline Jones: Yeah we we can uh target, means we can target ninety five percent accuracy or somewhere ninety Stephenie Pratt: Well Angeline Jones: seven Stephenie Pratt: wh Angeline Jones: perc Stephenie Pratt: uh I imagine Ruby Jackson: Hmm. Stephenie Pratt: also that the microphone will be an ambiance um a um an ambience microphones Angeline Jones: That's Stephenie Pratt: because Angeline Jones: right. Stephenie Pratt: you are not going to speak into Angeline Jones: No Stephenie Pratt: into Angeline Jones: it Stephenie Pratt: th Angeline Jones: it could Stephenie Pratt: into Angeline Jones: be Stephenie Pratt: the remote Angeline Jones: little Stephenie Pratt: control. Angeline Jones: d yeah Stephenie Pratt: So Angeline Jones: it Stephenie Pratt: it Angeline Jones: could Stephenie Pratt: could Angeline Jones: be Stephenie Pratt: be s a few centimetres. Angeline Jones: That's right. Ruby Jackson: Well Angeline Jones: That's Ruby Jackson: one Angeline Jones: right. Ruby Jackson: 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. Stephenie Pratt: Yeah. Ruby Jackson: So Angeline Jones: Mm-hmm Ruby Jackson: then you have Angeline Jones: mm-hmm. Ruby Jackson: to s you know, you have to train models for Angeline Jones: 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 Ruby Jackson: Yeah. Angeline Jones: a model which has to Stephenie Pratt: Okay. Angeline Jones: be trained and being a micro-controller. Stephenie Pratt: Okay we shou we should discuss this Angeline Jones: Yeah, Stephenie Pratt: la later Angeline Jones: that's right. Stephenie Pratt: after after after this Angeline Jones: Yeah. Stephenie Pratt: this uh slide. Angeline Jones: So Stephenie Pratt: This Angeline Jones: we Stephenie Pratt: is Angeline Jones: can Stephenie Pratt: a this is a this is a a very important uh issue Angeline Jones: That's Stephenie Pratt: in Angeline Jones: right. Stephenie Pratt: discussion. Angeline Jones: Yep. Stephenie Pratt: Okay, next. Angeline Jones: Yep. Stephenie Pratt: Uh that finished? Angeline Jones: No no. Components. Stephenie Pratt: No? Components? Angeline Jones: Yeah. So, will you go to the next slide? Stephenie Pratt: Yes sure. Angeline Jones: 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. Stephenie Pratt: Okay. Angeline Jones: 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. Ruby Jackson: You Angeline Jones: Yeah. Ruby Jackson: 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, Angeline Jones: Yeah but Ruby Jackson: by Angeline Jones: uh Ruby Jackson: speaking and Angeline Jones: as soon Ruby Jackson: doing Angeline Jones: as you try to put the microchip kind of thing or something the price will go up. Ruby Jackson: Yeah. Angeline Jones: So these Stephenie Pratt: Okay. Angeline Jones: are the slight problems. Stephenie Pratt: So your your opinion is that we should go for special Angeline Jones: Because Stephenie Pratt: condition technologies? Angeline Jones: 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 Dale Fritz: I'm sure Angeline Jones: was Dale Fritz: if you can sell a a speech recognition remote control for twenty five Euros everyo everyone will s will buy it. Angeline Jones: So if Ruby Jackson: Actually Angeline Jones: we go Ruby Jackson: I'm Angeline Jones: with Ruby Jackson: not Angeline Jones: just Ruby Jackson: so sure Angeline Jones: the Dale Fritz: I'm Ruby Jackson: because Dale Fritz: sure. Ruby Jackson: 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, Stephenie Pratt: Yeah. Ruby Jackson: I'm trying to actually find out what's being said, so maybe speech recognition gets in the way more than it helps. Stephenie Pratt: Okay so Dale Fritz: Yeah but you know the the average frequency of pushing buttons, it's about Ruby Jackson: Well it depends if it's a remote control Dale Fritz: it's about Ruby Jackson: th Dale Fritz: eighty eighty eighty pushes per hour, or something like that. Ruby Jackson: 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 Angeline Jones: Mm-hmm. Ruby Jackson: leave it sitting Angeline Jones: Mm-hmm. Ruby Jackson: on the table and Angeline Jones: Mm-hmm. Ruby Jackson: you don't actually have Angeline Jones: Mm-hmm. Ruby Jackson: to find Angeline Jones: Mm-hmm. Ruby Jackson: it, then Angeline Jones: Mm-hmm. Ruby Jackson: that could be. Stephenie Pratt: have to take some deci decisions right now. Angeline Jones: Alright. Stephenie Pratt: 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 Dale Fritz: With a good shape for Stephenie Pratt: or Dale Fritz: the Stephenie Pratt: 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 Ruby Jackson: Well it depends Stephenie Pratt: we could Ruby Jackson: though Stephenie Pratt: have. Ruby Jackson: 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 Stephenie Pratt: Yeah that's right. Don Ruby Jackson: cost. Stephenie Pratt: don't you ha don't we have contacts with uh people on T_V_ or or well systems that exist that we Ruby Jackson: Well this is Stephenie Pratt: can use? Ruby Jackson: 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 Stephenie Pratt: Yeah. Ruby Jackson: 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. Stephenie Pratt: Yeah. Ruby Jackson: It's it's not really Stephenie Pratt: That's Ruby Jackson: gonna Stephenie Pratt: 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? Ruby Jackson: For twenty five Euro? Stephenie Pratt: Yeah. Angeline Jones: It's Ruby Jackson: I think Angeline Jones: not Ruby Jackson: it's Angeline Jones: possible. Ruby Jackson: impossible. Angeline Jones: It's impossible. Ruby Jackson: But Dale Fritz: Yeah. Ruby Jackson: 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 Dale Fritz: Uh Ruby Jackson: of increasing the unit price. Dale Fritz: What would Stephenie Pratt: So Dale Fritz: be Stephenie Pratt: you mean yo you mean we we should target something maybe which is which would be more expensive Ruby Jackson: Yeah. Stephenie Pratt: but re really fancy in Ruby Jackson: Yeah. Stephenie Pratt: terms to um in terms to had to have really an added value? Ruby Jackson: Yeah because Stephenie Pratt: Okay, Ruby Jackson: yeah. Stephenie Pratt: so regarding the automatic Dale Fritz: Wha Stephenie Pratt: speech recognition, I think Dale Fritz: but Stephenie Pratt: this is Dale Fritz: what would be one question, what would be the goal of putting an L_C_D_ in a remote control? Ruby Jackson: Well Dale Fritz: What Ruby Jackson: th Dale Fritz: what kind of information? Ruby Jackson: 'Cause you can have things like the programme name instead of the channel numbers, like Dale Fritz: Yeah Ruby Jackson: an interactive Dale Fritz: but mo Ruby Jackson: programme Dale Fritz: most of the Ruby Jackson: guide. Dale Fritz: T_V_s nowadays Stephenie Pratt: They Dale Fritz: show Stephenie Pratt: have tele Dale Fritz: the Stephenie Pratt: teletext. Dale Fritz: show the Stephenie Pratt: Well, because they have teletext Dale Fritz: the n Stephenie Pratt: on it. Th th you have a teletext sin signal that you can that you can uh Dale Fritz: Yeah Stephenie Pratt: that you Dale Fritz: but Stephenie Pratt: can get thr Dale Fritz: yeah Stephenie Pratt: through Dale Fritz: most Stephenie Pratt: the channel. Dale Fritz: of the T_V_s have teletext nowadays. Stephenie Pratt: They have t most of them have Dale Fritz: Yeah. Stephenie Pratt: 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 Ruby Jackson: You can get a lot more information Stephenie Pratt: to browse more easily Ruby Jackson: on Stephenie Pratt: the teletext. Ruby Jackson: it. Stephenie Pratt: For instance through uh through your remote control. Dale Fritz: So what would what would appear in the in the L_C_D_? Ruby Jackson: So you could have the name of the programme, you could have um Stephenie Pratt: The ti Ruby Jackson: the start time Stephenie Pratt: the start Ruby Jackson: you know Stephenie Pratt: time, Ruby Jackson: where it's Stephenie Pratt: all Ruby Jackson: up Stephenie Pratt: the Ruby Jackson: to. Stephenie Pratt: p all the programmes you could have uh Ruby Jackson: You could have a l even Stephenie Pratt: o Ruby Jackson: a little image of you know the c Dale Fritz: Okay. Ruby Jackson: you know the the m the main actors or something so you can quickly just kind of even without Stephenie Pratt: Well Ruby Jackson: reading Stephenie Pratt: I don't know if this information is available from teletext, also. Ruby Jackson: Well no, but there are the electronic programme guides out Angeline Jones: Are Ruby Jackson: there. They may not have pictures, but maybe they do. There's dependi it also Stephenie Pratt: Well because Ruby Jackson: depends on the country. Stephenie Pratt: 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. Ruby Jackson: 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 Stephenie Pratt: So Ruby Jackson: people out there providing that. Stephenie Pratt: so that mean Dale Fritz: But Stephenie Pratt: w Ruby Jackson: Uh. Stephenie Pratt: w we need an in an extra internet connection to use the remote control, if you want to browse, Dale Fritz: Yeah. Stephenie Pratt: in addition to the T_V_, or uh or it should be a special T_V_ connected Ruby Jackson: Well Stephenie Pratt: to Ruby Jackson: 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. Stephenie Pratt: Okay. We need to close the meeting. Um so Angeline Jones: But just a small thing, what Stephenie Pratt: Very Angeline Jones: kind Stephenie Pratt: quickly. Angeline Jones: 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 Stephenie Pratt: No. Angeline Jones: important. Ruby Jackson: Mm. If Stephenie Pratt: Yeah, Ruby Jackson: it's a really small T_V_ Stephenie Pratt: well Ruby Jackson: maybe. Stephenie Pratt: people go to buy another remote control when they broke Angeline Jones: Broke. Stephenie Pratt: n Angeline Jones: Okay. Stephenie Pratt: broke Angeline Jones: Okay. Stephenie Pratt: their, and they want to go t for universal Angeline Jones: Okay. Stephenie Pratt: one, and Angeline Jones: Okay. Stephenie Pratt: they take the fanciest they can Angeline Jones: Okay. Stephenie Pratt: have. Angeline Jones: Okay. Stephenie Pratt: 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. Angeline Jones: Mm-hmm. Stephenie Pratt: 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 Dale Fritz back next meeting. So Dale Fritz: I think that the speech recognition technology would Angeline Jones: It's Dale Fritz: be cheaper Angeline Jones: it's cheaper Dale Fritz: the Angeline Jones: as compared Dale Fritz: than Angeline Jones: to Dale Fritz: the Angeline Jones: the L_C_D_. Dale Fritz: L_C_D_. Stephenie Pratt: Yeah, but not sure. Maybe it's cheaper, but we have no Dale Fritz: Because with the L_C_D_ you need more requirements. You need a internet connection. You need m more things. But for the speech Ruby Jackson: Well Dale Fritz: recognition Ruby Jackson: the thing Dale Fritz: you Ruby Jackson: is Dale Fritz: you Ruby Jackson: I think Dale Fritz: don't need Ruby Jackson: I Dale Fritz: anything. Ruby Jackson: think the type of peop Dale Fritz: channel fifty, and that's it. Ruby Jackson: 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 Dale Fritz: But then Ruby Jackson: you know. Dale Fritz: we should move to another target b because Angeline Jones: Means Dale Fritz: at twenty Angeline Jones: th Dale Fritz: five Angeline Jones: yeah Dale Fritz: Dollars, Ruby Jackson: Well this Dale Fritz: it's Ruby Jackson: is what Angeline Jones: twenty Ruby Jackson: we need Angeline Jones: five Ruby Jackson: to find Angeline Jones: Euros Ruby Jackson: out. Can Angeline Jones: is Ruby Jackson: we Angeline Jones: yeah, Ruby Jackson: can Angeline Jones: that's Ruby Jackson: we Angeline Jones: right. Ruby Jackson: increase the the price point of this remote control? 'Cause otherwise we need Stephenie Pratt: 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 Dale Fritz: To move to another target? Stephenie Pratt: 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 Ruby Jackson: It's kind of hard to guarantee Stephenie Pratt: It's Ruby Jackson: that Stephenie Pratt: real Ruby Jackson: you're gonna Stephenie Pratt: yeah. How to guarantee such performances is really hard. Dale Fritz: the expert uh said ninety five percent. Ruby Jackson: Ninety Stephenie Pratt: Well this Ruby Jackson: five Stephenie Pratt: is still Ruby Jackson: percent is not good enough Stephenie Pratt: is Ruby Jackson: though. Stephenie Pratt: 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. Angeline Jones: Okay. Stephenie Pratt: 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. Ruby Jackson: Yep. Stephenie Pratt: Bye.

Stephenie Pratt 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. Dale Fritz 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. Angeline Jones 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 Stephenie Pratt summarizes decisios made and closes the meeting by teeling each group member what he should work on.

amisum

train

Genevieve Danker: Okay? Good afternoon. Hope Angie Saulnier: Afternoon. Genevieve Danker: you have Sierra Garrett: Hi. Genevieve Danker: good lunch. Angie Saulnier: Yeah, we had falafel. Genevieve Danker: Oh. Nice. And you? Sierra Garrett: Uh, yes, I had something similar non-vegetarian. Genevieve Danker: 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? Bessie Mccarthy: Okay, Genevieve Danker: So marketing. So you are you saved your y your presentation somewhere? Bessie Mccarthy: Yep. Genevieve Danker: So you're four? Bessie Mccarthy: Four yeah, Genevieve Danker: Which is trend watch. Okay. Mr Marketing Experts. Bessie Mccarthy: Yeah that's Bessie Mccarthy. Genevieve Danker: So Bessie Mccarthy: 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? Sierra Garrett: Yeah. Bessie Mccarthy: Yeah? Genevieve Danker: Mm-hmm. Bessie Mccarthy: Okay. Okay. Well wha what I found um can you Genevieve Danker: Next slide? Bessie Mccarthy: Yeah. Genevieve Danker: Yeah. Bessie Mccarthy: 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. Genevieve Danker: Okay. Bessie Mccarthy: 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. Genevieve Danker: Mm. Bessie Mccarthy: 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? Angie Saulnier: Mm-hmm. Bessie Mccarthy: So maybe we should we should think in in this direction, so Sierra Garrett: What what do you mean by fruit and vegetables and spongy? What Angie Saulnier: Spongy Sierra Garrett: you mean Angie Saulnier: means Sierra Garrett: clothe Angie Saulnier: it it's like Bessie Mccarthy: Fruit Angie Saulnier: sp Bessie Mccarthy: vegetables is the the new have you seen the last exposition of clothes in Milan? Sierra Garrett: No, I missed that one. Bessie Mccarthy: 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 Sierra Garrett: Oh, Bessie Mccarthy: clothes. Sierra Garrett: they're okay so they're not like dressed as a carrot they just have Bessie Mccarthy: No no, Sierra Garrett: like Bessie Mccarthy: not not yet, not Sierra Garrett: pictures Bessie Mccarthy: yet. Sierra Garrett: of fruit on, Bessie Mccarthy: Yeah, Sierra Garrett: okay. Bessie Mccarthy: yeah. Sierra Garrett: So Bessie Mccarthy: So Sierra Garrett: we're not gonna Bessie Mccarthy: te Sierra Garrett: have a remote Bessie Mccarthy: textu Sierra Garrett: control Bessie Mccarthy: textures, Sierra Garrett: in the shape of Bessie Mccarthy: yeah. Sierra Garrett: of a banana, just Bessie Mccarthy: Yeah. Sierra Garrett: maybe Bessie Mccarthy: Vegetable textures and all this kind. Genevieve Danker: Drawings of bananas. Bessie Mccarthy: Uh Sierra Garrett: Okay and Genevieve Danker: Uh-huh. Bessie Mccarthy: yeah, yeah. Angie Saulnier: But what's your suggestion how we can have some shape like that on the Genevieve Danker: Well Angie Saulnier: remote? Genevieve Danker: so this is in the next slide certainly. Bessie Mccarthy: Uh no no, it's not. Genevieve Danker: It's not? Bessie Mccarthy: It's And Sierra Garrett: which fruit are you thinking of Bessie Mccarthy: 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. Angie Saulnier: Mm-hmm. Bessie Mccarthy: But yeah it it Genevieve Danker: So maybe Bessie Mccarthy: depends Genevieve Danker: you Bessie Mccarthy: on Genevieve Danker: maybe Bessie Mccarthy: the Genevieve Danker: you can display a banana on the L_C_D_. Sierra Garrett: 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 Angie Saulnier: Means buttons are Bessie Mccarthy: Yeah Angie Saulnier: in the Bessie Mccarthy: maybe Angie Saulnier: shape Bessie Mccarthy: the Angie Saulnier: of Bessie Mccarthy: shape Angie Saulnier: fruits, Bessie Mccarthy: the shape Angie Saulnier: buttons are in the frape shape of fruits or something, apple, banana, something like that. Bessie Mccarthy: No, not n Genevieve Danker: Apple for Bessie Mccarthy: not Genevieve Danker: channel Bessie Mccarthy: not too Genevieve Danker: one. Bessie Mccarthy: much focus, not too much focu not n not too s not too similar to a fruit because Angie Saulnier: Mm-hmm. Bessie Mccarthy: next year the ten the trend the trend will be different. Angie Saulnier: Mm-hmm. Bessie Mccarthy: So we shouldn't be at re really attached to to the Sierra Garrett: So Bessie Mccarthy: trend Sierra Garrett: something Bessie Mccarthy: but Sierra Garrett: that looks half like a fruit and half like an elephant. Bessie Mccarthy: For instance, yeah. African or as an elephant? Angie Saulnier: That we can discuss afterwards. Sierra Garrett: But okay, I'm Genevieve Danker: Okay. Sierra Garrett: 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 Bessie Mccarthy: Well Sierra Garrett: a, Bessie Mccarthy: ma Sierra Garrett: an Bessie Mccarthy: maybe Sierra Garrett: orange is. Bessie Mccarthy: 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 Sierra Garrett: To fruit? Bessie Mccarthy: 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. Sierra Garrett: But is it uh is fruit cool? Bessie Mccarthy: What? Genevieve Danker: That's a question. Bessie Mccarthy: What? Sierra Garrett: Is fruit cool? Bessie Mccarthy: Yeah? Uh Is the new trend of the Sierra Garrett: 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. Bessie Mccarthy: No I think we we should think about a a shape with it a device with a shape of some Sierra Garrett: Okay, but it has to be easy to uh to use though and to hold you know, you don't wanna pear or a Bessie Mccarthy: Yeah. Sierra Garrett: watermelon. Bessie Mccarthy: Don don't you think we can find uh the shape of a fruit which is handy Sierra Garrett: Well, Bessie Mccarthy: to Sierra Garrett: probably Bessie Mccarthy: use? Sierra Garrett: the only thing is a banana Angie Saulnier: Banana. Sierra Garrett: that I can think of, a cucumber. Angie Saulnier: Mm-hmm. Sierra Garrett: I Bessie Mccarthy: Or Sierra Garrett: dunno. Bessie Mccarthy: m Genevieve Danker: Maybe too long. Sierra Garrett: Maybe. Too green. Bessie Mccarthy: Maybe. Sierra Garrett: So, but Genevieve Danker: A Sierra Garrett: I mean you Genevieve Danker: banana. Sierra Garrett: also have to you have to also Bessie Mccarthy: Um Sierra Garrett: have, fit r all the buttons and you know. It's, it Bessie Mccarthy: Yeah. Sierra Garrett: 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. Angie Saulnier: I don't th it will Bessie Mccarthy: Yeah Angie Saulnier: be Bessie Mccarthy: but Angie Saulnier: rolling Bessie Mccarthy: I li Angie Saulnier: a lot. Bessie Mccarthy: I like your idea Genevieve Danker: Okay. Bessie Mccarthy: that we shouldn't have a lot of buttons Genevieve Danker: Yeah Bessie Mccarthy: b Genevieve Danker: and Bessie Mccarthy: buttons Genevieve Danker: you you Bessie Mccarthy: so Genevieve Danker: you will not have pla enough a lot of place to put a L_C_D_ on a banana also. Sierra Garrett: Yeah. Bessie Mccarthy: Uh do you want a an L_C_D_ with twenty five Euros? Genevieve Danker: Well, Sierra Garrett: Well, Genevieve Danker: you're Sierra Garrett: this Genevieve Danker: the Sierra Garrett: is Genevieve Danker: Marketing Expert you should tell us if it Bessie Mccarthy: I Genevieve Danker: is too much Bessie Mccarthy: think Genevieve Danker: or not. Bessie Mccarthy: 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, Genevieve Danker: So Bessie Mccarthy: I will give more importance to the look and feel than rather than the Genevieve Danker: So you you Bessie Mccarthy: new Genevieve Danker: you suggest Bessie Mccarthy: inputs Genevieve Danker: to go Bessie Mccarthy: and also Genevieve Danker: f Bessie Mccarthy: 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 Genevieve Danker: Okay. Bessie Mccarthy: remote, you need buying control remote, buying uh more Genevieve Danker: S Bessie Mccarthy: things. Genevieve Danker: so Bessie Mccarthy: It's Genevieve Danker: you're simply Bessie Mccarthy: not so simple. Genevieve Danker: you're simply looking s to a remote control that looks like a banana with Bessie Mccarthy: For instance, Genevieve Danker: few buttons Bessie Mccarthy: yeah. Genevieve Danker: with Bessie Mccarthy: Yeah Genevieve Danker: only Bessie Mccarthy: for Genevieve Danker: a few Bessie Mccarthy: for Genevieve Danker: buttons. Bessie Mccarthy: for given an an example yeah. Genevieve Danker: Okay good. So maybe you can go ahead? Bessie Mccarthy: Yeah no, it's what I already said. Genevieve Danker: Okay. Thanks. Um. Okay, I'll give the floor. So you are User Interface guy. Sierra Garrett: Okay. Genevieve Danker: So you're three? Sierra Garrett: Yeah. Genevieve Danker: And it's this one. Sierra Garrett: Yep. Genevieve Danker: Go for it. Sierra Garrett: Yep. Okay. So. S next uh slide. Okay. So I received an email um around lunchtime letting Bessie Mccarthy 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. Angie Saulnier: But it's just a Sierra Garrett: It's no, what it is, it's Angie Saulnier: It's Sierra Garrett: it's Angie Saulnier: not a Sierra Garrett: very Angie Saulnier: microphone. Sierra Garrett: It has a has a microphone, has a speaker, it's got a little chip and Angie Saulnier: Mm-hmm. Sierra Garrett: it allows you Angie Saulnier: Actually Sierra Garrett: t Angie Saulnier: I'm not reading microphone there, so that's why you can all have conversation, Sierra Garrett: Well, it's Angie Saulnier: it Sierra Garrett: a sample Angie Saulnier: just to speak to you. Sierra Garrett: sensor sample speaker. Sample sensor sample speaker. It means Angie Saulnier: Mm-hmm. Sierra Garrett: that it can recognize, it can do like a match on a on a certain phrase that you speak Angie Saulnier: Mm-hmm. Sierra Garrett: and then can play back a Angie Saulnier: Mm-hmm. Sierra Garrett: phrase in response to that. Angie Saulnier: Mm-hmm, mm-hmm. Sierra Garrett: But uh there's no kind of um understanding of the phrase. Angie Saulnier: Okay. Sierra Garrett: 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 Angie Saulnier: Mm-hmm, Sierra Garrett: the remote Angie Saulnier: mm-hmm, Sierra Garrett: control. Angie Saulnier: mm-hmm. Sierra Garrett: But basically the thing is, we have this technology available Angie Saulnier: In-house. Sierra Garrett: in-house. So, Angie Saulnier: Mm-hmm. Sierra Garrett: um but the thing is obviously there's still gonna be a cost if you Angie Saulnier: Mm-hmm, Sierra Garrett: decided to integrate that because Angie Saulnier: mm-hmm. Sierra Garrett: 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. Angie Saulnier: Mm-hmm, mm-hmm. Sierra Garrett: Whilst you know, some people might get annoyed if we uh if we just dump it, Genevieve Danker: I there's something that I unclear really understanding. Is this a technology that recognize keywords speech keywords? Sierra Garrett: 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, Genevieve Danker: And Sierra Garrett: how Genevieve Danker: it's Sierra Garrett: would Genevieve Danker: just Sierra Garrett: you like Genevieve Danker: to, Sierra Garrett: your coffee? Genevieve Danker: it's just to playback something? Sierra Garrett: 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, Genevieve Danker: Yeah Sierra Garrett: so. Genevieve Danker: yeah. So this is not s really to do to to do control. Sierra Garrett: Only, like, only in the sense that it it can recognize a set Genevieve Danker: Yeah. Sierra Garrett: a set target Genevieve Danker: This Sierra Garrett: kind Genevieve Danker: is just Sierra Garrett: of word Genevieve Danker: more Sierra Garrett: an Genevieve Danker: like a poi Sierra Garrett: It's designed Genevieve Danker: pois Sierra Garrett: it's Genevieve Danker: yeah. Sierra Garrett: designed as a fun kind of thing, Genevieve Danker: Yeah Sierra Garrett: but I guess Genevieve Danker: yeah. Sierra Garrett: you could use it as uh as a way to implement uh Genevieve Danker: So Bessie Mccarthy: Yeah but Genevieve Danker: it it's c uh it it it Bessie Mccarthy: you Genevieve Danker: is Bessie Mccarthy: can Genevieve Danker: a Bessie Mccarthy: u Genevieve Danker: 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 Sierra Garrett: Completely Genevieve Danker: uh Sierra Garrett: pointless yeah. Genevieve Danker: yeah comp completely pointless Sierra Garrett: Yeah. Genevieve Danker: for the inter for from the interaction point of v point of view. Sierra Garrett: Yeah, unless you know, you like having conversation with your remote control. Genevieve Danker: Okay. Bessie Mccarthy: Yeah but the can we use it for saying okay, channel fifty, Sierra Garrett: Well Bessie Mccarthy: channel Sierra Garrett: yeah, that's the Bessie Mccarthy: twenty? Sierra Garrett: 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 Genevieve Danker: Yeah Sierra Garrett: word fifteen, it doesn't Genevieve Danker: yeah. Sierra Garrett: have that Genevieve Danker: So Sierra Garrett: kind of logic Genevieve Danker: this is Sierra Garrett: in it. Angie Saulnier: Mm-hmm. Genevieve Danker: so this Sierra Garrett: So Genevieve Danker: 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. Sierra Garrett: Yeah. Genevieve Danker: So if if if it is something that you can we can bring easily and to put it into the banana remote control Bessie Mccarthy: M Mando. Sierra Garrett: Banana-mando. Genevieve Danker: No this is mm banana-bando, Bessie Mccarthy: Banana-mando Sierra Garrett: Banana-man Bessie Mccarthy: yeah. Genevieve Danker: yeah. Uh then it could be cool yeah. Angie Saulnier: Yeah okay, let's go ahead. Genevieve Danker: Okay. Sierra Garrett: 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, Genevieve Danker: Okay. Sierra Garrett: 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 Genevieve Danker: It doesn't Sierra Garrett: remote Genevieve Danker: look like Sierra Garrett: control Genevieve Danker: a banana at all. Sierra Garrett: Well, you see, I was I was unaware at this point of th of the fruit focus, Genevieve Danker: Yeah. Sierra Garrett: um, so Genevieve Danker: But Sierra Garrett: at the Genevieve Danker: you Sierra Garrett: moment Bessie Mccarthy: Looks Sierra Garrett: it's more Bessie Mccarthy: like Genevieve Danker: you Bessie Mccarthy: a Sierra Garrett: of Genevieve Danker: can Bessie Mccarthy: tr Sierra Garrett: a Genevieve Danker: fit Sierra Garrett: box Genevieve Danker: i Sierra Garrett: focus. Bessie Mccarthy: look likes Genevieve Danker: you're saying Bessie Mccarthy: a Genevieve Danker: now you can Bessie Mccarthy: a tro Genevieve Danker: fit Bessie Mccarthy: a Genevieve Danker: it Bessie Mccarthy: tropical Genevieve Danker: to Bessie Mccarthy: fruit. Genevieve Danker: Yeah. Bessie Mccarthy: Yeah. Sierra Garrett: 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 Angie Saulnier: Stable Sierra Garrett: key part Angie Saulnier: thing, that's Sierra Garrett: of, Angie Saulnier: right. Sierra Garrett: you know, I think Angie Saulnier: To Sierra Garrett: everyone Angie Saulnier: have, Sierra Garrett: has has agreed that it's that it could Angie Saulnier: mm-hmm, Sierra Garrett: be quite a useful um Angie Saulnier: mm-hmm. Sierra Garrett: 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, Genevieve Danker: Mm. Sierra Garrett: because it's it's the volume i it's, you know it's very handy for it to have uh instant kind Angie Saulnier: Mm-hmm, Sierra Garrett: of uh feedback Angie Saulnier: mm-hmm. Sierra Garrett: 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, Bessie Mccarthy: What's a turbo Sierra Garrett: and Bessie Mccarthy: button? Sierra Garrett: 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. Bessie Mccarthy: It con it controls the speed? Sierra Garrett: 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 Angie Saulnier: Mm-hmm. Sierra Garrett: 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 Genevieve Danker: It's enough. Sierra Garrett: 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? Angie Saulnier: Mm-hmm. Sierra Garrett: I mean we could have well, I guess you need an on and off Genevieve Danker: Switch Sierra Garrett: switch, Genevieve Danker: on. Sierra Garrett: but you could Genevieve Danker: Yeah. Sierra Garrett: you could o you could turn it turn it on by taking the top off the banana maybe, you know, it's kind of Bessie Mccarthy: Yeah. Sierra Garrett: like a spy Bessie Mccarthy: So Sierra Garrett: kind of flick thing. Bessie Mccarthy: sounds crazy. I like crazy ideas. Sierra Garrett: That's why you're a marketing Genevieve Danker: Okay. Bessie Mccarthy: Yeah, Sierra Garrett: guru. Genevieve Danker: So Bessie Mccarthy: of course. Genevieve Danker: i it looks like we're going completely to forget about the L_C_D_ thing. Sierra Garrett: Well, that's the thing, as have we decided that we can only spend, uh, twenty five Euro? Genevieve Danker: I think Sierra Garrett: Well not spend, Genevieve Danker: that Sierra Garrett: but you know, charge twenty five Euro. Bessie Mccarthy: I I think we could use somehow the s coffee machine dialogue interface or so. Genevieve Danker: No we can we can't use that. Bessie Mccarthy: You we can? Genevieve Danker: We Bessie Mccarthy: We Genevieve Danker: can't Bessie Mccarthy: can't. Genevieve Danker: use that to Angie Saulnier: Communicate. Genevieve Danker: to comman co communicate, it's just Bessie Mccarthy: Yeah, Genevieve Danker: a Bessie Mccarthy: but Genevieve Danker: thing Bessie Mccarthy: we can say Angie Saulnier: It's one Bessie Mccarthy: channel Angie Saulnier: way. Bessie Mccarthy: twenty five. Genevieve Danker: No. Bessie Mccarthy: No? Sierra Garrett: But then you have to have a template for every channel, for a hundred channels, you have to be able to to recognize Bessie Mccarthy: It's Angie Saulnier: Mm-hmm. Bessie Mccarthy: not a lot one Sierra Garrett: Mm. Bessie Mccarthy: hundred templates, it's Sierra Garrett: Well, Bessie Mccarthy: not Sierra Garrett: I f I think it's probably more than, than our can handle because Genevieve Danker: Yeah. Sierra Garrett: it's designed for a coffee machine, you know, to say hello in the morning. Bessie Mccarthy: Ah, it's designed for a cof okay. Is it design for a coffee machine? Sierra Garrett: Well that's its current application, I would presume Bessie Mccarthy: Okay. Sierra Garrett: that it's kind of, they wouldn't design it to handle a hundred things Bessie Mccarthy: Yeah. Sierra Garrett: th so. Bessie Mccarthy: Maybe you could ask your the you could ask the engineering department Angie Saulnier: Mm-hmm. Genevieve Danker: Yeah. Bessie Mccarthy: if Genevieve Danker: A Bessie Mccarthy: we Genevieve Danker: good Bessie Mccarthy: can Genevieve Danker: good good Sierra Garrett: But Genevieve Danker: thing. You Sierra Garrett: uh Genevieve Danker: want to g to move Angie Saulnier: Yeah, Genevieve Danker: to your Angie Saulnier: that's right, Genevieve Danker: slides? Angie Saulnier: yeah. Genevieve Danker: You're finished? Sierra Garrett: 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 Genevieve Danker: Yeah I think so. Sierra Garrett: television environment. But um I did have one thing from a previous meeting, you were talking about um Bessie Mccarthy: Yeah. Sierra Garrett: 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. Genevieve Danker: Mm-hmm. Sierra Garrett: 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 Genevieve Danker: Mm. Sierra Garrett: case maybe the maybe the speech recognition the speech thing could be useful just to say Genevieve Danker: Exactly yeah. Sierra Garrett: I'm here but uh it's probably a bit of overkill if you could just have a Angie Saulnier: So it's a Sierra Garrett: a Angie Saulnier: speech Sierra Garrett: beeping Angie Saulnier: synthesis kind of thing, something has Sierra Garrett: It's Angie Saulnier: been uh stored Sierra Garrett: speech Angie Saulnier: and it's just uh spoken out. Sierra Garrett: It's it's speech synthesis and s Angie Saulnier: Mm-hmm. Sierra Garrett: it's speech kind of, not really speech recognition, but Angie Saulnier: Yeah. Sierra Garrett: kind of pattern Angie Saulnier: That's right. Sierra Garrett: matching, yeah Genevieve Danker: Oh, good idea. Sierra Garrett: yeah. Genevieve Danker: Very good. Okay, let's move on. So you're two? Angie Saulnier: That's right. Genevieve Danker: Okay. Angie Saulnier: So this is going to be about the component design. Genevieve Danker: Mm-hmm. Angie Saulnier: 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 Sierra Garrett: I guess that fits in with the spongy kind of design philosophy. Genevieve Danker: Yeah. Angie Saulnier: 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. Sierra Garrett: 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 Angie Saulnier: Double Sierra Garrett: 'cause I'm Angie Saulnier: curve Sierra Garrett: not sure Angie Saulnier: is, you have curves on both the sides if I'm right. So it's symmetrical kind of thing, whatever it is. Sierra Garrett: Okay, but like, Angie Saulnier: So, Sierra Garrett: kind of convex Angie Saulnier: it could Sierra Garrett: or concave? Angie Saulnier: be curve, so it could be convex, conve concave, depending on Sierra Garrett: Mm-hmm. Angie Saulnier: what what we want. Sierra Garrett: Okay. Angie Saulnier: So there are flats, there are single curve and there are double curves. Sierra Garrett: Okay. Angie Saulnier: 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, Genevieve Danker: Yeah. Angie Saulnier: it'll bring the cost down and anyway it's Sierra Garrett: 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 Genevieve Danker: Mm Sierra Garrett: kind of put Genevieve Danker: but Sierra Garrett: some, Genevieve Danker: i Sierra Garrett: some Genevieve Danker: but Sierra Garrett: varnish Genevieve Danker: there is Sierra Garrett: on. Genevieve Danker: no elasticity which Angie Saulnier: Wooden Genevieve Danker: could Angie Saulnier: cases Genevieve Danker: be Sierra Garrett: 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 Genevieve Danker: Yeah Sierra Garrett: broken, Genevieve Danker: but the Sierra Garrett: it's Genevieve Danker: components Sierra Garrett: the inside. Genevieve Danker: inside. Sierra Garrett: Yeah but inside you know you could have you can still have some kind of cushioning that's Angie Saulnier: Mm-hmm. Genevieve Danker: Yeah. Sierra Garrett: not visible to the to the user. Genevieve Danker: Very Angie Saulnier: Mm-hmm. Genevieve Danker: too expensive to do. Bessie Mccarthy: Yeah. Sierra Garrett: And I mean you Genevieve Danker: And Sierra Garrett: could Genevieve Danker: also Sierra Garrett: also, Genevieve Danker: uh Sierra Garrett: you can have just a very thin veneer of wood as well. Genevieve Danker: Yeah but it's more easier to do a banana in plastic than uh in wood. Sierra Garrett: That's true, but are we set on the banana idea? Bessie Mccarthy: Actually Genevieve Danker: Well it look like it Bessie Mccarthy: I was Genevieve Danker: looks Bessie Mccarthy: thinking Genevieve Danker: like you Bessie Mccarthy: that Genevieve Danker: are all Bessie Mccarthy: the Genevieve Danker: targeting that yeah? Bessie Mccarthy: the shape of a banana is not it's not really handy. Genevieve Danker: Yes it is. Bessie Mccarthy: Uh I don't know the name o o in English uh Angie Saulnier: Is it Bessie Mccarthy: This Angie Saulnier: an e Bessie Mccarthy: it's Angie Saulnier: apple Bessie Mccarthy: not a Angie Saulnier: which Bessie Mccarthy: fruit Angie Saulnier: has Bessie Mccarthy: it's a vegetable. Sierra Garrett: It's like a pumpkin or Genevieve Danker: Yeah? Pumpkin. Bessie Mccarthy: Green. Sierra Garrett: Green. Genevieve Danker: Green. Um um um, yes I see. Sierra Garrett: What does it taste Bessie Mccarthy: And you Sierra Garrett: like? Bessie Mccarthy: put in the salad. Genevieve Danker: Pep pepperoni. Bessie Mccarthy: Um Sierra Garrett: Ah yeah, is it what's it in French? Genevieve Danker: Poivron. Bessie Mccarthy: Oui c'est ca Sierra Garrett: Yeah, okay, so capsicum or pepper. Genevieve Danker: Uh pepper. Sierra Garrett: Yeah. Bessie Mccarthy: Pepper. Genevieve Danker: But um they do Bessie Mccarthy: And it's Genevieve Danker: d Bessie Mccarthy: al it also suits with the double curve for Genevieve Danker: Yeah. Bessie Mccarthy: easy of Sierra Garrett: I don't know, it seems a little bit kind of bulky to Bessie Mccarthy, Bessie Mccarthy: No, Sierra Garrett: like Bessie Mccarthy: I Genevieve Danker: Yeah. Bessie Mccarthy: mean in a Genevieve Danker: It's not re Sierra Garrett: like Genevieve Danker: it Sierra Garrett: with Genevieve Danker: you Sierra Garrett: a banana Genevieve Danker: you Sierra Garrett: you Genevieve Danker: think Sierra Garrett: can Genevieve Danker: it's Sierra Garrett: have Genevieve Danker: really fancy and fun? You think that young people Bessie Mccarthy: I'm sure Genevieve Danker: that are Bessie Mccarthy: it's fun. Genevieve Danker: Yeah. More than a banana? Bessie Mccarthy: But banana is not so handy, Angie Saulnier: Banana Sierra Garrett: Well Bessie Mccarthy: I think Angie Saulnier: is Bessie Mccarthy: that's Angie Saulnier: more Bessie Mccarthy: handier. Angie Saulnier: handier as compared to this I think, and to capsicum. Sierra Garrett: But like a banana you can you can be holding like this and have the scroll wheel kind of on top and Genevieve Danker: Yeah. Sierra Garrett: just roll it back and forth like Genevieve Danker: It's Sierra Garrett: that, Genevieve Danker: kind Sierra Garrett: but with Genevieve Danker: it's Sierra Garrett: uh Genevieve Danker: kind of Sierra Garrett: I Genevieve Danker: it's Sierra Garrett: don't Genevieve Danker: more Sierra Garrett: know how you would hold Genevieve Danker: uh Sierra Garrett: a capsicum and Genevieve Danker: 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 Bessie Mccarthy: Yeah Genevieve Danker: on. Bessie Mccarthy: you're right. Genevieve Danker: So time is running, let's move on. Angie Saulnier: 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. Genevieve Danker: Okay. Angie Saulnier: 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. Sierra Garrett: So is that, when you say speaker support, you mean it just has some output pinned which which which kind Angie Saulnier: It Sierra Garrett: of Angie Saulnier: could be a beep kind of thing. Sierra Garrett: Okay, but the speaker is actually attached to the to the chip in some way, or is just Angie Saulnier: Yes, Sierra Garrett: the the Angie Saulnier: yes, Sierra Garrett: signal? Angie Saulnier: that's Sierra Garrett: Okay. Angie Saulnier: right, it's it's onto the chip, most most probably, not Sierra Garrett: Okay. Angie Saulnier: not hundred per cent sure about Sierra Garrett: So Angie Saulnier: that. Sierra Garrett: 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? Angie Saulnier: 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, Sierra Garrett: Okay. Angie Saulnier: the chip is always going to be sitting inside. Sierra Garrett: Yeah, but the speaker, if the speaker is actually on the chip, Angie Saulnier: Mm-hmm. Sierra Garrett: then if it's too far away from the the casing, or if the casing is too thick, then you may not hear the Angie Saulnier: Uh, Sierra Garrett: the speaker. Angie Saulnier: so we can have it at one of the boundaries so that things are slightly better. Sierra Garrett: Yeah. Angie Saulnier: As or as hearing is concerned, we can have some gap at some place, Sierra Garrett: Yeah. Angie Saulnier: so Sierra Garrett: So Angie Saulnier: that Sierra Garrett: that's something we have to keep in mind with the actual physical design is to keep the Angie Saulnier: That's right. Sierra Garrett: the speaker close enough to the outside. Angie Saulnier: 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 Sierra Garrett: Although, Angie Saulnier: this additional Sierra Garrett: if Angie Saulnier: little, we might be having slightly better market for us. Sierra Garrett: It depends, if we like, if we are concentrating on like a fruit design, then maybe Angie Saulnier: Mm. Sierra Garrett: maybe we wanna sell a collection of fruit, Angie Saulnier: Of fruits. Sierra Garrett: you know, like a different fruit for each device. Angie Saulnier: Mm-hmm. Sierra Garrett: Cause that, you know, that sometimes people like to collect um Angie Saulnier: Remotes Genevieve Danker: S objects. Sierra Garrett: you know Angie Saulnier: objects, Sierra Garrett: things that Angie Saulnier: okay. Sierra Garrett: of a similar Genevieve Danker: Crazy objects. Bessie Mccarthy: I think that would Sierra Garrett: type. Bessie Mccarthy: be funny at the beginning but after one month you will be tired of be surrounded of fruits. Sierra Garrett: Well, you're the one who wanted to do fruit in the Bessie Mccarthy: No Sierra Garrett: first Bessie Mccarthy: but Sierra Garrett: place. Bessie Mccarthy: I think just one fruit to control everything. Sierra Garrett: Like a power fruit. Bessie Mccarthy: A power fr a power M a Mando, a Supermando fruit. Sierra Garrett: Yeah. Genevieve Danker: Okay. Angie Saulnier: s and we should have it on the remote. Bessie Mccarthy: Actually Sierra Garrett: Well Genevieve Danker: Okay, Bessie Mccarthy: I Genevieve Danker: good. Bessie Mccarthy: I didn't understand very well this trace speaker lost control. Angie Saulnier: 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 Bessie Mccarthy: So Angie Saulnier: say Bessie Mccarthy: you you have to buy two things, the banana and the basis Genevieve Danker: Bu Bessie Mccarthy: station. Genevieve Danker: it's Angie Saulnier: Basis station Genevieve Danker: it's. Angie Saulnier: is with the thing. Genevieve Danker: You s you you thing. Angie Saulnier: 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. Sierra Garrett: I Angie Saulnier: Uh Sierra Garrett: think that's a pretty handy feature. Genevieve Danker: Yeah. Bessie Mccarthy: Yeah. Sierra Garrett: I think it's kind of people would find that worth it even if it wasn't uh a recharging station, even Angie Saulnier: Mm-hmm, Sierra Garrett: if they didn't Angie Saulnier: mm-hmm, Sierra Garrett: have to buy extra batteries, you know. Angie Saulnier: mm-hmm, mm-hmm. Bessie Mccarthy: Yeah but Sierra Garrett: So Bessie Mccarthy: I'm a bit worried about the budget. Angie Saulnier: Uh this is basis station is nothing more, just it's a wire which is coming from the main cable Genevieve Danker: Mm-hmm. Angie Saulnier: and uh you're having one socket on which the thing sits. Sierra Garrett: Although you do need to include R_F_ kind of Angie Saulnier: That's right. Sierra Garrett: circuitry in Angie Saulnier: But Sierra Garrett: the remote. Angie Saulnier: 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. Sierra Garrett: Okay. Angie Saulnier: And Sierra Garrett: 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? Genevieve Danker: You Angie Saulnier: Mm-hmm. Genevieve Danker: think that yellow it's kitsch. Sierra Garrett: Well, you know, I don Genevieve Danker: If Sierra Garrett: I don't Bessie Mccarthy: Yeah. Sierra Garrett: know how Genevieve Danker: you Sierra Garrett: many Genevieve Danker: make Sierra Garrett: peop Genevieve Danker: something that looks like a banana it should Bessie Mccarthy: No, Genevieve Danker: have Bessie Mccarthy: I Genevieve Danker: the Bessie Mccarthy: I Genevieve Danker: colour of a banana. Angie Saulnier: A yeah, otherwise Sierra Garrett: Well Angie Saulnier: it'll be Sierra Garrett: they Angie Saulnier: mis Genevieve Danker: O otherwise Angie Saulnier: means you don't get Bessie Mccarthy: Maybe Angie Saulnier: b any feeling Bessie Mccarthy: li like Angie Saulnier: then. Bessie Mccarthy: that. Angie Saulnier: It's neither a Sierra Garrett: Yeah, Angie Saulnier: banana Sierra Garrett: like this Angie Saulnier: nor Sierra Garrett: colour Angie Saulnier: a Sierra Garrett: this colour Maybe, you know, maybe like still in the shape of a banana. Genevieve Danker: Roughly. Sierra Garrett: 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 Genevieve Danker: Yeah. Sierra Garrett: sixties or seventies. Genevieve Danker: Okay. Angie Saulnier: And Genevieve Danker: Let's Angie Saulnier: uh Genevieve Danker: move on. Uh Angie Saulnier: going to Genevieve Danker: uh Angie Saulnier: the last slide. Genevieve Danker: yeah. the meeting I'd like to to draw some sketch about the pro future prot prototype. Sierra Garrett: Okay. Genevieve Danker: Go for it. Angie Saulnier: Okay. Genevieve Danker: Well no, not not you, you can finish Angie Saulnier: Okay. Genevieve Danker: your slides Angie Saulnier: Okay, Genevieve Danker: before Angie Saulnier: so. Anyway, users'll be so the findings is users'll be very interested in our locator device to find their misplaced Genevieve Danker: Mm Angie Saulnier: remotes. Genevieve Danker: okay. Angie Saulnier: So that was very I thought it's a very good suggestion by everybody. Genevieve Danker: Okay. Angie Saulnier: That's it. Genevieve Danker: That's all? Angie Saulnier: Yep. Genevieve Danker: 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 Sierra Garrett: Yeah. Genevieve Danker: and we're going to report all the ideas we had we had during this these presentations just to draw some sketch about Sierra Garrett: Okay. Genevieve Danker: what will be the prod final product and uh where Superman go banana and uh uh extra Angie Saulnier: Mm-hmm. Genevieve Danker: 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 Angie Saulnier: That's Genevieve Danker: call Angie Saulnier: right. Genevieve Danker: it? Angie Saulnier: The basis station. Genevieve Danker: Basis Angie Saulnier: That's Genevieve Danker: station, yeah. Angie Saulnier: right. Genevieve Danker: Uh so um so we're going for a stylish banana shape. Sierra Garrett: 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 Genevieve Danker: Yeah, Sierra Garrett: towards the floor. Genevieve Danker: right. Sierra Garrett: So you know, so if you have like Bessie Mccarthy: What about what about this shape? More or less. Genevieve Danker: We Angie Saulnier: There's less space on this to put with the buttons. Genevieve Danker: I if it Bessie Mccarthy: Yeah, Genevieve Danker: i Bessie Mccarthy: but Genevieve Danker: if it has Bessie Mccarthy: how Genevieve Danker: really Bessie Mccarthy: many Genevieve Danker: the Bessie Mccarthy: buttons Genevieve Danker: model Bessie Mccarthy: do Genevieve Danker: shape Bessie Mccarthy: we need? Genevieve Danker: 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. Angie Saulnier: Uh Genevieve Danker: So Angie Saulnier: what about Genevieve Danker: ti Angie Saulnier: a Genevieve Danker: 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. Sierra Garrett: Okay, so Genevieve Danker: So Sierra Garrett: So Genevieve Danker: we have this. We have a a basis um, how do you call it? Angie Saulnier: The base station. Genevieve Danker: A base station. Angie Saulnier: Right. Genevieve Danker: We'll have a base station extra uh on the side. Sierra Garrett: okay, so I guess we need, you know, something that can fit a banana shaped object. Angie Saulnier: Mm-hmm. Genevieve Danker: Yeah. Angie Saulnier: Yeah. Genevieve Danker: Uh, we have a R_F_ for um for beeping Angie Saulnier: That's right, yeah, Genevieve Danker: for beeping. Angie Saulnier: we need that, yeah. Genevieve Danker: We need b R_F_ to Sierra Garrett: Okay, Genevieve Danker: beep. Sierra Garrett: so it's Genevieve Danker: So Sierra Garrett: uh Genevieve Danker: we that means we need a button on th on the on the basis. Sierra Garrett: Yeah. Angie Saulnier: Basis station. Genevieve Danker: Basis station, Angie Saulnier: Yeah, Genevieve Danker: thank you. Angie Saulnier: yeah. Sierra Garrett: Alright, so we need uh okay. Genevieve Danker: Can Sierra Garrett: Yeah. Genevieve Danker: 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 Sierra Garrett: Yeah. Genevieve Danker: and your tur turbo turbo uh Sierra Garrett: Yeah, Genevieve Danker: button. Angie Saulnier: Turbo Sierra Garrett: which Angie Saulnier: button. Sierra Garrett: I think it's it's probably best actually on the on the underneath of the Genevieve Danker: Yeah, on the Sierra Garrett: the Genevieve Danker: th Sierra Garrett: device, so you have Genevieve Danker: yeah, maybe here. And Sierra Garrett: Yes. Genevieve Danker: the and the wheel a a at the level of the thumb for instance. Sierra Garrett: Yeah, so you have the thumb kind of here. Genevieve Danker: And and you have two wheels. Sierra Garrett: So yeah, you need one one here and one on on the other side, Genevieve Danker: Okay right. Sierra Garrett: so you got volume an and channel. Genevieve Danker: Good. Sierra Garrett: And, Genevieve Danker: So Sierra Garrett: uh Genevieve Danker: no L_C_D_. Sierra Garrett: No L_C_D_. Genevieve Danker: Okay great. Um. Very good. Angie Saulnier: Okay. Sierra Garrett: Oh we need a we need a power um on off switch as well. Genevieve Danker: Yeah. Angie Saulnier: Uh for the remote? Sierra Garrett: Yeah. Genevieve Danker: Oh, just Angie Saulnier: Remotes Genevieve Danker: the switch, Angie Saulnier: don't Genevieve Danker: no f Angie Saulnier: have power Genevieve Danker: not for Angie Saulnier: on Genevieve Danker: the Angie Saulnier: off Genevieve Danker: T_V_ Angie Saulnier: switch. Genevieve Danker: for the T_V_. Sierra Garrett: Yeah. Genevieve Danker: Uh Angie Saulnier: Okay. Genevieve Danker: so Angie Saulnier: S Genevieve Danker: you Angie Saulnier: no, that'll be controlled by the Bessie Mccarthy: What Angie Saulnier: those buttons'll be Bessie Mccarthy: a Angie Saulnier: there already, yeah. Sierra Garrett: Where? Angie Saulnier: Means on Genevieve Danker: On the Angie Saulnier: the Genevieve Danker: side. Angie Saulnier: remote. Because Sierra Garrett: Okay. Angie Saulnier: 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. Sierra Garrett: Well, I dunno if the traditional user is gonna buy a a banana remote Angie Saulnier: Oh, Sierra Garrett: in the Angie Saulnier: yeah. Sierra Garrett: first place, you Angie Saulnier: That's Sierra Garrett: know. Angie Saulnier: that's another issue which Sierra Garrett: Y Angie Saulnier: I Sierra Garrett: I mean Angie Saulnier: didn't think of. Sierra Garrett: you need to kind of keep it um Angie Saulnier: But you know our targets are very high, means fifty million Euros is the profit which we want Bessie Mccarthy: What Angie Saulnier: make. Bessie Mccarthy: about Sierra Garrett: Yeah, how many of these did we wanna sell? I can't remember, Angie Saulnier: Twenty Sierra Garrett: what was Angie Saulnier: five. Twelve point Genevieve Danker: Twenty Angie Saulnier: five Genevieve Danker: five. Angie Saulnier: is the profit on one. Sierra Garrett: Yeah, but how many units did we need to to sell? Angie Saulnier: Uh forty th four. Bessie Mccarthy: Four Angie Saulnier: Point Bessie Mccarthy: millions? Angie Saulnier: point four million? Sierra Garrett: Four point four million. Angie Saulnier: Point four million. Sierra Garrett: That's a lot of fruit. Genevieve Danker: Yeah. Angie Saulnier: In the market. Bessie Mccarthy: What about Genevieve Danker: So. Bessie Mccarthy: a Genevieve Danker: Well. No. Time is running, we have to close the meeting in a few Sierra Garrett: Okay. Genevieve Danker: minutes. So, okay, the next step, you can come back to your Sierra Garrett: Okay. Genevieve Danker: seat. The next step is to go for to f is to go to uh to building a prototype, based on this, okay? Sierra Garrett: Okay. Genevieve Danker: 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 Angie Saulnier: Mm-hmm. Genevieve Danker: to model the first uh f first prototype. Uh Marketing Expert uh have to go to product evaluation. Okay? Bessie Mccarthy: I wo what about adding the this word spotting, keyword spotting recognition saying volume up volume down? Genevieve Danker: It's too difficult. Bessie Mccarthy: 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. Genevieve Danker: 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 Sierra Garrett: Uh. Genevieve Danker: let's skip it. Bessie Mccarthy: Okay. Angie Saulnier: For the future prototypes. Genevieve Danker: Yeah, maybe, for the n if if Sierra Garrett: That can be Genevieve Danker: if Sierra Garrett: the t Genevieve Danker: it it works well, we'll go for Sierra Garrett: That can Genevieve Danker: uh Sierra Garrett: be Genevieve Danker: an Sierra Garrett: like Genevieve Danker: orange Sierra Garrett: the turbo Genevieve Danker: one. Sierra Garrett: banana plus plus Genevieve Danker: Yeah Bessie Mccarthy: Plus Sierra Garrett: commando. Bessie Mccarthy: plus, okay. Genevieve Danker: yeah, honour the fruit. Bessie Mccarthy: Maybe objective banana? Genevieve Danker: Okay. Thanks very much. We'll see n next meeting. Bye. Angie Saulnier: So meeting's Sierra Garrett: Okay. Angie Saulnier: over? Sierra Garrett: Yep. Angie Saulnier: Okay. Sierra Garrett: We have to go design Angie Saulnier: Okay. Sierra Garrett: the prototype. Angie Saulnier: Okay. Thank you. Genevieve Danker: Thank you. Bessie Mccarthy: Thank you. Angie Saulnier: The problem is after all this meeting there is

Genevieve Danker 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. Bessie Mccarthy 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, Angie Saulnier 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 Genevieve Danker 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

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

Jill Blackburn 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 Kelly Ayala. 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

Anne Eldridge: Now what. Anneliese Jones: 'Kay, hello everybody. Uh, I guess you all know what is it about, you all received the email, I guess. Uh, we are actually doing this meeting to start a new project which is about designing a remote control. So I'm going to be Anneliese Jones of this uh project. And uh so I'm present myself. I'm Fabien Cardinaux and uh I I guess you can present yourself. So I dunno, you can starts. Anne Eldridge: Okay, so my name is. You can call Karen Jackson Petre, or Peter if you like. I don't care. Anneliese Jones: Okay. Karen Jackson: Uh my name's Bob Anneliese Jones: And Karen Jackson: Mor. Anneliese Jones: you are? In the project? Anne Eldridge: Uh, Karen Jackson: Oh, sorry. Anne Eldridge: in the project I'm supposed to be the technic. Karen Jackson: 'Kay. So my name's Bob Morris. I'm Karen Jackson for this project. Anne Eldridge: Bob, Karen Jackson: Bob Anne Eldridge: okay. Karen Jackson: yeah. Marie Du: My name is Hamed Getabdar, uh I'm going to be Interface Designer in this project. Anne Eldridge: Okay. Anneliese Jones: So, uh, so today we are doing a short meeting to present the project, so um We are gooding we are going to present the tool we are we are going to use during all this project. We are talking about the project plan, and we are going to to discuss about st our first ideas and so on, and, yeah. So we have around twenty five minutes to do this meeting. Um. So what is the goal of this project? Is to design a new remote control. So it should be, of course, new and original, and um it should be trendy, and user friendly. That mean it's a very challenging project, and uh uh. So w it's we will try to do our best, and hopefully come with something very new and that people want to buy. So, um So what's uh what are we going to do during this all this project? So it's more like we are going to do inv individual work all in o in o our specialities and we are going to meet each other quite often to discuss and to find a good way. Um. Anneliese Jones: Yeah and everything is will be like this. Um so now we are going to to get used t to to the tools we are going to use all during all this project. So we can try to use uh the whiteboard here. So Anne Eldridge: Okay. Anneliese Jones: uh. For example we can try to write what is our our favourite animal and write the f our favourite characteristics about it. Mm. Anneliese Jones: Uh. So uh Anneliese Jones: So I will ask you all to do the same. Anne Eldridge: Okay. Anneliese Jones: Just to get used to the whiteboard. Anne Eldridge: So probably I would try to try to draw the animal. Well sh should I draw the picture of the animal? I I th Anneliese Jones: Yeah, Anne Eldridge: I Anneliese Jones: yeah, Karen Jackson: Yeah Anneliese Jones: you Anne Eldridge: think Anneliese Jones: can Anne Eldridge: I Karen Jackson: go Anne Eldridge: should. Anneliese Jones: draw Karen Jackson: ahead. Anneliese Jones: the picture, of course. Anne Eldridge: Okay, so. Um. Okay, American, um. Um. use the bird. So I tried to sketch it out. I had to first uh write it down because I am not absolutely sure if I can draw it, but ah. Can you recognise it as a bird? Okay Karen Jackson: Okay, Anne Eldridge: it's your turn to Karen Jackson: okay. Karen Jackson: So I think my favourite animal would be a c a cat. Anneliese Jones: Oh. Karen Jackson: That's its head. Um I probably like cats the most because they're cuddly and furry and uh playful. Okay. Marie Du: I dunno if I should go Anne Eldridge: Oh it's Marie Du: with Anne Eldridge: okay. Karen Jackson: Thanks. Marie Du: this. If it is enough line. I'm sorry. Karen Jackson: Maybe put it up Put it a Maybe put it on the desk or something. Anne Eldridge: Yeah. I should get used to the tool, so. Marie Du: Okay. Anne Eldridge: Oh just wait a little bit. C could we put it here, to make it as straight as possible? Ah probably not. Marie Du: They Anne Eldridge: Okay, Marie Du: should be remote. Karen Jackson: that's better. Anne Eldridge: it it works like this. Marie Du: Okay, thanks. Karen Jackson: Your lapel microphone's fallen off. Anne Eldridge: Are you left-handed? Marie Du: No. Anne Eldridge: Oh, pity. Marie Du: Okay. Should I clean? Okay, I think like horses uh because they are strong and beautiful, so if I want to write it here, I think I can. Anneliese Jones: Never mind. Anne Eldridge: Ah, it's maybe Karen Jackson: Yeah. Anne Eldridge: better if you leave it. Karen Jackson: Yeah. Maybe we should just continue. Anneliese Jones: Yeah. Karen Jackson: Yeah, don't worry about it. Anneliese Jones: no Karen Jackson: No. Anneliese Jones: worry. Marie Du: Okay. Anne Eldridge: You won't draw them, Anneliese Jones: You can Anne Eldridge: or? Anneliese Jones: draw it, if you Marie Du: I dunno if I can. Anneliese Jones: want. Anne Eldridge: Just try. I would like to Marie Du: Okay. Anne Eldridge: see how it looks like. Marie Du: It may be like a cow or I dunno, whatever. I'm not good very good in drawing. Okay, so this is very It's a bird, I think. I dunno what is it. Anne Eldridge: No, I think it's clear. Marie Du: Four. Okay. Mm-hmm. Mm. Yeah. I'm shameful Karen Jackson: Oh Anne Eldridge: It's okay. It's Karen Jackson: that's Anne Eldridge: in Anneliese Jones: Good. Karen Jackson: good, it's good. Anne Eldridge: it's indeed beautiful. Karen Jackson: Yeah, and strong. Marie Du: Yeah. Okay. Anne Eldridge: Okay. Bob. Have to remember it. Bob. Anneliese Jones: So good um So, let's talk about money. Uh we are going to to sell we want to sell uh this remote control for twenty five Euro Euro. And uh our expected profit will be around fifty million Euro. And uh we are trying to to have a market all around the world. So n not only for Switzerland, but for the world. Uh. So, um. The We expect a production cost of maximum uh twelve point fifty Euro. Anne Eldridge: Per unit, I guess. Anneliese Jones: Yeah, Anne Eldridge: Y Anneliese Jones: of course. Anne Eldridge: oh okay. Anneliese Jones: Um, so we can start today to have a first idea of what we want to do what are our experiments with remote control, and any idea? So, if you have some experience, good or bad, with remote controls you can share it and say what you f what is your idea. Anything. Anne Eldridge: Okay. Karen Jackson: Well, from experience, um I've had remote controls in the past that have had very they've had lots and lots of buttons and they've been very small, and it's been very hard to to to use, because there's so many buttons, and you know it's very hard to see which buttons do what, and the buttons are very small and very hard to press. Um and and normally you only every use, you know, on a T_V_ remote you only ever use, mostly, you know, f four Anneliese Jones: Mm. Karen Jackson: or f six Anne Eldridge: Oh. Karen Jackson: buttons. Um. So it's frustrated Karen Jackson in the past, th that. Anne Eldridge: Okay, I have also some points uh. Maybe two points. Uh first would be that in current remote controls there is no back light, so if you are if you are uh playing with this in the dark room it's Anneliese Jones: Yeah. Anne Eldridge: it's probably worth to to have something like uh back light. And maybe it could be also dependant on the the amount of of light in the room, so that if if it's in the day it doesn't need to be back lighted because it works on the battery, so. So something like this. And the second thing, f second point from Karen Jackson would be that in a normal remote control there is uh there are two buttons for volume control. But Anneliese Jones: Yeah. Anne Eldridge: I prefer like a potential-meter or something like. Karen Jackson: Ah, okay. Okay. Anne Eldridge: You know, some slider Anneliese Jones: Okay. Anne Eldridge: or Marie Du: Mm-hmm. Anne Eldridge: Not Karen Jackson: Okay, Anne Eldridge: just two Karen Jackson: n Anne Eldridge: discrete buttons for volume, but something which Anneliese Jones: Mm-hmm. Karen Jackson: Is that because Anneliese Jones: Yeah. Karen Jackson: the of the discrete volume levels, or is that Anne Eldridge: Yeah, but I can reach In uh one second I can mute it down, or Karen Jackson: Yeah. Anneliese Jones: Are Anne Eldridge: or make Anneliese Jones: you not afraid Anne Eldridge: a Anneliese Jones: that Anne Eldridge: high volume. Anneliese Jones: if you take your remote control you can move the slide and it could the the Anne Eldridge: Ah, Anneliese Jones: volume can Anne Eldridge: n. Anneliese Jones: go up very quickly and it Anne Eldridge: If Anneliese Jones: can Anne Eldridge: it drops to the floor then it starts Anneliese Jones: Yeah, also Anne Eldridge: to scream. Anneliese Jones: if y when you take the the remote control, for example on the table, you take it and you push the button and everything is very loud, and you have Anne Eldridge: Yeah, Anneliese Jones: a heart attack. Anne Eldridge: f It depends what what you feel about that. Anneliese Jones: Okay. Karen Jackson: Yeah. Anne Eldridge: Yeah but we can we can think of these things afterwards, but if you have some Anneliese Jones: Yeah Marie Du: Uh Anne Eldridge: more notes Anneliese Jones: so Marie Du: I Anneliese Jones: you Anne Eldridge: on Anneliese Jones: can Anne Eldridge: that. Anneliese Jones: Do you Marie Du: Yeah, Anneliese Jones: have something? Marie Du: just a simple experience. I uh I prefer um remote control working with radio waves, because remote control working with infra-red rays Anneliese Jones: Yeah, Marie Du: you should Anneliese Jones: that's true. Marie Du: you should you should keep it in a specific direction and then try Anneliese Jones: Yeah Marie Du: it hard Anneliese Jones: without Marie Du: to Anneliese Jones: obstacles Marie Du: tune. Anneliese Jones: and. Anne Eldridge: Okay. Anneliese Jones: Okay. Anne Eldridge: Um. Anneliese Jones: Let's continue. I have a meeting in five minutes, so Karen Jackson: Okay. Anneliese Jones: maybe we should hurry. Anne Eldridge: Okay, Anneliese Jones: Um. Anne Eldridge: just a second. Anneliese Jones: So we will close uh this meeting. So we will have a next meeting in uh thirty minutes. Um. Uh. The So I will ask you to do some work. Uh the the interface interface developer will work on the on the design of the remote control, start to to have new idea and Anne Eldridge: Which i which is Hamed, Anneliese Jones: read about Marie Du: Mm. Anne Eldridge: Okay. Anneliese Jones: Yeah. Karen Jackson: He's Anne Eldridge? No, you're Anne Eldridge. Marie Du: Yeah. Anne Eldridge: Uh I am the Technical Anneliese Jones: Oh. Anne Eldridge: Designer, I dunno Karen Jackson: Yeah, I Anne Eldridge: which Karen Jackson: think Anne Eldridge: one, Karen Jackson: that's Anne Eldridge: uh Anneliese Jones: Industry Karen Jackson: the first. Anneliese Jones: and Anne Eldridge: v. Marie Du: Uh-huh. Anneliese Jones: Oh. Karen Jackson: I_D_. Industrial Designer. And the second one is Marie Du. Marie Du: Mm-hmm. Anne Eldridge: User Karen Jackson: And Anne Eldridge: Interf Karen Jackson: then Anne Eldridge: Okay. Karen Jackson: last one's marketing, which is Anneliese Jones: Yeah. Karen Jackson: Karen Jackson. Anne Eldridge: Okay, so I'm the first Anneliese Jones: So, Anne Eldridge: one. Anneliese Jones: um For Marie Du, which is Hamed Marie Du: Mm-hmm. Anneliese Jones: um, uh, you Anne Eldridge: I Anneliese Jones: are going Anne Eldridge: see. Anneliese Jones: to work on the technical functions of the remote control. Marie Du: Okay. Anneliese Jones: And for the Marketing uh Manager, I dunno, okay, which is Bob, uh you are going to try to to find the user requirements f uh for the remote control. Um, you will receive by email uh the specific instructions and uh by your personal coach. Anne Eldridge: Sign. Anneliese Jones: Yep finished. So I see you in thirty minutes. Karen Jackson: Great, okay. Anne Eldridge: Okay. Marie Du: Okay, Karen Jackson: Thanks guys. Bye. Marie Du: thanks. Bye. Anneliese Jones: Thank you. Anne Eldridge: Uh.

Anneliese Jones opened the meeting and had the team members introduce themselves by name and their role in the project. Anneliese Jones introduced the upcoming project to the team and then had the team members participate in a tool training exercise in which each member drew his favorite animal on the white board and discussed what he liked about the animal. Anneliese Jones also discussed selling prices and the project budget. The team then discussed their experiences with remotes, focusing on various features they would like to see in the remote they will produce, as well as features they find unappealing in current remotes.

amisum

train

Cindy Gonzales: 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. Julia Cameron: Okay, can I have the laptop over Cindy Gonzales: Yep. Julia Cameron: here, Cindy Gonzales: Oh, I don't think so. I think you Julia Cameron: Okay. Cindy Gonzales: have Julia Cameron: Have to get Cindy Gonzales: to Julia Cameron: up. Cindy Gonzales: come here. I dunno. I think it should stay. Julia Cameron: Excuse Julia Cameron. Sue Squires: Yeah, that's it. Julia Cameron: Okay. Cindy Gonzales: Should stay in the square here. Julia Cameron: Okay. Cindy Gonzales: Oh, maybe. Julia Cameron: Okay, so basically I'm gonna present Cindy Gonzales: Oh, Julia Cameron: some Cindy Gonzales: you Julia Cameron: findings Cindy Gonzales: can put it here. Julia Cameron: of a study we conducted Cindy Gonzales: Oh that's okay, it's jus Julia Cameron: 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. Cindy Gonzales: Hmm. Julia Cameron: That's my dic that's my presentation. Thank you. Cindy Gonzales: Thank you. Ellen Peters: Okay. Cindy Gonzales: 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 Sue Squires: Well Cindy Gonzales: about that? Sue Squires: okay, yeah. Yeah, but the user user Cindy Gonzales: No. Ellen Peters: B Sue Squires: interface Ellen Peters: you think uh Sue Squires: is responsible. Ellen Peters: I I'm User Interface Cindy Gonzales: Ah. Sue Squires: Okay, so. Cindy Gonzales: Sorry, I'm Sorry. Ellen Peters: Okay. Cindy Gonzales: Sorry. Ellen Peters: Okay. If I could go there with this cable. Sue Squires: You're scaring Julia Cameron with L_C_D_ man. And speech recognition in remote unit, it will be very e expensive. Julia Cameron: Yeah, it's true, but, you know, they're features that users want, so it's Sue Squires: Yeah. Julia Cameron: And our production cost of twelve fifty Euros per per unit is fairly high I think, so Sue Squires: Yeah. Julia Cameron: I think we can afford to to add these sort of features into our remote. Sue Squires: At least we have couple of months t to work on it so so it will be cheaper Ellen Peters: Sh okay. Sue Squires: finally. Julia Cameron: It is true. Ellen Peters: Where's delete button? Okay. Oh I'm sorry. Ellen Peters: Okay. Julia Cameron: That's the wrong one, I think. Cindy Gonzales: Yeah, it's still Bob Morris. Ellen Peters: Oh. Presentation three? Sue Squires: Because you cancelled Cindy Gonzales: Yeah you should have Sue Squires: it. Cindy Gonzales: put yes. Sue Squires: Yeah. Ellen Peters: Oh. Cindy Gonzales: Click on yes. yeah. Sue Squires: Yep. Ellen Peters: 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 Sue Squires: You still Ellen Peters: radio Sue Squires: want Ellen Peters: waves. Sue Squires: Julia Cameron the presentation. Ellen Peters: 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. Julia Cameron: Okay. Julia Cameron: I have a question. Ellen Peters: Uh-huh. Julia Cameron: Do you think radio waves um will interfere with other appliances in the home? Ellen Peters: 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. Julia Cameron: Okay. Cindy Gonzales: So Sue Squires: Yeah it should be Cindy Gonzales: can Sue Squires: okay. Cindy Gonzales: we use any any frequency? We have the right to use any frequency? Ellen Peters: 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. Cindy Gonzales: 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? Ellen Peters: 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 Cindy Gonzales: Okay. Ellen Peters: T_V_ can Cindy Gonzales: A Ellen Peters: understand Cindy Gonzales: kind of identification, Ellen Peters: it Yeah, identification Sue Squires: Yeah f Ellen Peters: code Cindy Gonzales: okay. Ellen Peters: inside the Sue Squires: uh Cindy Gonzales: So Sue Squires: 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_ Cindy Gonzales: Yeah. Sue Squires: then then it's like an handshaking Cindy Gonzales: So Sue Squires: 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. Cindy Gonzales: Okay. Ellen Peters: The password may simply uh or uh i identification code may simply solve this problem. A specific uh remote control has Sue Squires: Yeah Ellen Peters: a Sue Squires: but Ellen Peters: specific Sue Squires: we we don't have to think Ellen Peters: f Sue Squires: 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. Cindy Gonzales: Hmm. Sue Squires: And they have these problems solved so. Julia Cameron: Okay. Sue Squires: So Ellen Peters: Mm. Sue Squires: we don't have to think about these. Ellen Peters: Mm-hmm. Cindy Gonzales: Okay. Julia Cameron: Okay. Cindy Gonzales: So, maybe you can talk about the function, and Sue Squires: 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. Cindy Gonzales: Open. Sue Squires: Ah. Okay. How to make it big? Cindy Gonzales: Slide Ellen Peters: Five. Cindy Gonzales: show. Sue Squires: Slide show. Okay, thanks. Cindy Gonzales: It should work, so you can. Sue Squires: 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 Cindy Gonzales: Mm. Sue Squires: glad if you can Cindy Gonzales: Yeah. Sue Squires: tell Julia Cameron 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 Julia Cameron: Mm-hmm. Sue Squires: 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 Ellen Peters: Mm-hmm. Sue Squires: you can make the T_V_ do what you want even Cindy Gonzales: Hmm. Sue Squires: 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? Julia Cameron: 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 Sue Squires: No no Julia Cameron: board? Sue Squires: no no no. This we this we buy I think, because it's rather cheap nowadays and it's Julia Cameron: Okay Sue Squires: not worth Julia Cameron: s Sue Squires: to construct ourselves. Julia Cameron: So we just buy a circuit board and Sue Squires: Exactly. Julia Cameron: Okay. Sue Squires: But I'm not sure about the circuit which is responsible for speech recognition. This I prefer that we should make ourselves. Julia Cameron: Okay. Sue Squires: 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 Julia Cameron as a as a designer of the circuit. Cindy Gonzales: Yeah. Sue Squires: But the speech recognition we have to compare whether Ellen Peters: Mm. Sue Squires: the price and the Cindy Gonzales: Yeah. Sue Squires: what does it offer, you know. Cindy Gonzales: So what do you think would Sue Squires: Yeah, I'm Cindy Gonzales: be the price, it would be out of range? Or it would be maybe Sue Squires: Oh. Cindy Gonzales: feasible? Sue Squires: 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. Cindy Gonzales: Okay. Sue Squires: It depends of you if if the M_E_ or U_I_D_, I'm Cindy Gonzales: Mm. Sue Squires: 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. Julia Cameron: Okay. Sue Squires: 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. Cindy Gonzales: Why? Because it's simpler? Sue Squires: Because because the the range where you can Cindy Gonzales: Yeah. Sue Squires: use it is fair. Cindy Gonzales: Mm. Sue Squires: It's okay I think. And the price is fairly cheap Cindy Gonzales: Okay. Sue Squires: for this. Cindy Gonzales: It's Sue Squires: Well, Cindy Gonzales: a a Sue Squires: depends. Cindy Gonzales: price matter. Yeah. Sue Squires: Jus just the price. Cindy Gonzales: Mm. Sue Squires: Otherwise I don't care what I put there because it's the chip which I buy or which Cindy Gonzales: Okay. Sue Squires: we buy. So I I I think Julia Cameron: What Sue Squires: it's Julia Cameron: how much Sue Squires: o Julia Cameron: more expensive? Sue Squires: y Julia Cameron: Are we talking three Sue Squires: o. Julia Cameron: times more expensive? Or Sue Squires: Well, Julia Cameron: ten Sue Squires: three Julia Cameron: times Sue Squires: to Julia Cameron: more Sue Squires: three Julia Cameron: expensive? Or Sue Squires: to five. Julia Cameron: Okay. Sue Squires: N not ten times, but it Julia Cameron: Yeah Sue Squires: depends what Julia Cameron: yeah. Sue Squires: what we Julia Cameron: That's still a lot. I think it's it's probably not Cindy Gonzales: Hmm. Julia Cameron: worth spending the extra money, because Cindy Gonzales: Yeah. Julia Cameron: I mean all the other remote controls on the market have infra-red, so people don't expect anything other than infra-red. Cindy Gonzales: Yeah. Julia Cameron: So it's Sue Squires: Yeah. Julia Cameron: not worth spending Cindy Gonzales: Well Julia Cameron: the extra Sue Squires: Th Julia Cameron: money. Sue Squires: they are used Cindy Gonzales: I, Sue Squires: to use Cindy Gonzales: oh Sue Squires: it when they can see the T_V_ so, Julia Cameron: Yeah. Sue Squires: I Cindy Gonzales: On Sue Squires: don't Cindy Gonzales: the other Sue Squires: know. Cindy Gonzales: side, we want to have something new. You know, Julia Cameron: Yeah. Cindy Gonzales: where we want to to have something new and So we I think we should still thinking about it. But Julia Cameron: But I think, Cindy Gonzales: maybe. Julia Cameron: based on my usability studies I th I feel that users are prioritise the look and the feel and Cindy Gonzales: Okay. Julia Cameron: the trendiness above, you know, the difference between infra-red or radio waves. So I think we're better off spending money Sue Squires: You the user interface, Julia Cameron: in the usability Sue Squires: and Cindy Gonzales: Okay. Sue Squires: management Ellen Peters: Mm. Julia Cameron: phase. Cindy Gonzales: Yeah. Sue Squires: man, uh Julia Cameron: Okay. Sue Squires: Uh okay, that's it for Julia Cameron. Cindy Gonzales: Okay, thank you Peter. Sue Squires: 'Kay. Cindy Gonzales: 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. Julia Cameron: Mm. Cindy Gonzales: 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. Sue Squires: I agree. Cindy Gonzales: 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. Julia Cameron: Well, should we start with just the core, the basic functions that we need. And then Cindy Gonzales: Yeah. Julia Cameron: we can move on Ellen Peters: Mm. Julia Cameron: to the Ellen Peters: Yes. Julia Cameron: more Cindy Gonzales: Maybe, Julia Cameron: advanced features. Cindy Gonzales: maybe. Sue Squires: Okay, so the available things are L_C_D_, the buttons and everything. Uh radio frequency depends. And, well the recognition it depends on Cindy Gonzales: Yeah Sue Squires: you guys. You Cindy Gonzales: but Sue Squires: should probably speak. Cindy Gonzales: first maybe what is what are the usual function of a standard remote control? I mean Sue Squires: Okay. Cindy Gonzales: what do Julia Cameron: Okay, well, Cindy Gonzales: Yeah. Julia Cameron: I mean the obvious one is changing channels. Cindy Gonzales: Yeah. Ellen Peters: Yeah. Cindy Gonzales: I think we should stick on very useful functions, because Julia Cameron: Yeah. Cindy Gonzales: we want less button. So, yeah. Julia Cameron: Yeah, okay. Cindy Gonzales: So, turning channel, of course. Volume setting. Sue Squires: 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 Cindy Gonzales: Yeah. Sue Squires: plus one or two? Ellen Peters: Mm-hmm. Cindy Gonzales: I think it would be a b Sue Squires: Because it's many buttons and we were speaking about lowering the number. Ellen Peters: Mm. Cindy Gonzales: Yeah. Julia Cameron: Yeah, I Cindy Gonzales: On the other side we have more and more channels, and if you want to pass through all the Ellen Peters: Yeah. Cindy Gonzales: channels to get the channel you want, it's Sue Squires: Okay so so we keep all these Ellen Peters: Yeah Cindy Gonzales: Maybe Ellen Peters: yeah, Sue Squires: all Ellen Peters: at Cindy Gonzales: maybe Ellen Peters: least Sue Squires: these buttons. Cindy Gonzales: we Ellen Peters: nine, Cindy Gonzales: could Ellen Peters: ten Cindy Gonzales: think of Ellen Peters: button. Cindy Gonzales: something more betweens, like uh Sue Squires: Like ten plus, five plus, one plus, one minus Cindy Gonzales: Yeah. Sue Squires: or something. Cindy Gonzales: Maybe something Sue Squires: Or using Cindy Gonzales: like Sue Squires: the Cindy Gonzales: that. Sue Squires: names and the keyboard I Julia Cameron: Ah yeah. Sue Squires: dunno. Cindy Gonzales: Uh. Ellen Peters: Or Cindy Gonzales: Maybe Ellen Peters: Or something. Cindy Gonzales: Oh I don't know. Oh. Maybe we could have key buttons, like uh discovery channe like documentary channel, and movies channel and Sue Squires: You mean Ellen Peters: Mm-hmm. Sue Squires: like Cindy Gonzales: And Sue Squires: hierarchical Cindy Gonzales: inside Sue Squires: structure. Cindy Gonzales: this Ellen Peters: Okay. Cindy Gonzales: this thing you can move, Ellen Peters: Like categorising Cindy Gonzales: maybe switch. Ellen Peters: channels. Cindy Gonzales: If you want to see a movie you click on the movie button so you have all the movie channels Ellen Peters: Mm-hmm. Cindy Gonzales: and Sue Squires: Okay, Cindy Gonzales: after Sue Squires: so Cindy Gonzales: you've Sue Squires: s Cindy Gonzales: you plus Sue Squires: Oh Cindy Gonzales: plus Sue Squires: sorry. Cindy Gonzales: plus. Ellen Peters: Okay. Cindy Gonzales: I It just an idea. I don't know what you think about that but. Sue Squires: So it requires the use of L_C_D_ probably, to to tell you Julia Cameron: To Cindy Gonzales: Yeah, Julia Cameron: have some feedback. Cindy Gonzales: probably, yeah, Sue Squires: Okay, Cindy Gonzales: yeah. Ellen Peters: Mm-hmm. Julia Cameron: Yeah. Sue Squires: so I'll make a note on L_C_D_. Julia Cameron: We could maybe also c um incorporate Petre's idea of the um slider for the volume, Ellen Peters: Okay. Julia Cameron: with the channel. Cindy Gonzales: Okay. Julia Cameron: So we c you could quickly just Sue Squires: Yeah. Julia Cameron: through many channels. Sue Squires: Like roller for the Julia Cameron: For Sue Squires: Yeah. Julia Cameron: the channels, perhaps. Sue Squires: Okay. Cindy Gonzales: Anything else? Julia Cameron: So we've got channel and volume. Um. Cindy Gonzales: Yeah. Sue Squires: So we are still s speaking about the common devices or we are inviting Julia Cameron: I think Sue Squires: the Julia Cameron: so. Sue Squires: new one? Julia Cameron: I think basically Cindy Gonzales: Yeah. Julia Cameron: the core functions we want, and then more advanced ones. Cindy Gonzales: 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. Ellen Peters: So Cindy Gonzales: So Julia Cameron: Yeah. Ellen Peters: 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 Sue Squires: On Ellen Peters: can Sue Squires: the screen, Ellen Peters: Yeah. Sue Squires: you mean? Ellen Peters: Yeah Sue Squires: Not Ellen Peters: b Sue Squires: on the control, Ellen Peters: Not on Sue Squires: but Ellen Peters: the Sue Squires: on Ellen Peters: control, Sue Squires: the screen. Ellen Peters: on the screen, on the T_V_ screen. Sue Squires: Well, this Julia Cameron: I don't Sue Squires: would Ellen Peters: And Sue Squires: avoid Ellen Peters: then Sue Squires: L_C_D_, then. Julia Cameron: 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 Cindy Gonzales: Yeah, Julia Cameron: all T_V_s, Cindy Gonzales: yeah. Ellen Peters: Mm-hmm. Cindy Gonzales: know if Sue Squires: Oh. Julia Cameron: I Cindy Gonzales: it's Julia Cameron: think. Cindy Gonzales: possible to to watch something Sue Squires: W Cindy Gonzales: on T_V_ Sue Squires: I I think it it would be better to to stick to the remote control Cindy Gonzales: Yeah. Sue Squires: and not to bother the T_V_ to Cindy Gonzales: Yeah. Ellen Peters: Mm-hmm. Sue Squires: 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 Ellen Peters: Mm-hmm. Sue Squires: in the price. Julia Cameron: Okay. Cindy Gonzales: 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 Ellen Peters: Yeah. Cindy Gonzales: with less buttons, but Julia Cameron: But then you don't want to make the L_C_D_ display too complicated Cindy Gonzales: Mm. Julia Cameron: at the same time. I mean there's always Sue Squires: Two T_V_s. Julia Cameron: we can always have these l less often used functions hidden somewhere, under a cover Cindy Gonzales: Yeah. Julia Cameron: or Cindy Gonzales: Oh yeah. Julia Cameron: at Sue Squires: Like Julia Cameron: the back of under Cindy Gonzales: Oh, Sue Squires: ma Julia Cameron: a slide Cindy Gonzales: the. Julia Cameron: or some Sue Squires: We we could have for example two buttons like simple mode and advanced mode. Or I dunno. Julia Cameron: Yeah. Sue Squires: Or Julia Cameron: Yeah. Sue Squires: like children and grandfather's mode, and Ellen Peters: Mm. Sue Squires: the, well the the user not the user, the man mana T_V_ manager mode. Julia Cameron: Okay. Sue Squires: Ah, Ellen Peters: Mm-hmm. Sue Squires: I dunno. Julia Cameron: So we have five minutes left. Cindy Gonzales: Yeah. Julia Cameron: Um. Sue Squires: Uh. Julia Cameron: So I think s the settings we th we are agreeing are agreed that they're required. Cindy Gonzales: Yeah. Ellen Peters: Mm-hmm. Julia Cameron: It's just Sue Squires: Yeah. Julia Cameron: how to a Cindy Gonzales: We should hide them somewhere. Sue Squires: Hide Julia Cameron: Yeah. Sue Squires: them, okay. Cindy Gonzales: In the menus of the L_C_D_ Julia Cameron: Okay. Cindy Gonzales: or in the back of the remote control, or something like Julia Cameron: Yeah. Cindy Gonzales: that. Julia Cameron: Uh, okay, what else? Sue Squires: Um. Julia Cameron: I mean a power button's obviously Sue Squires: Yes. Julia Cameron: uh Sue Squires: This Julia Cameron: required. Sue Squires: 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 Cindy Gonzales: It's it's a kind of setting, I think. It should Ellen Peters: Mm. Cindy Gonzales: fit in those settings Ellen Peters: Settings. Cindy Gonzales: functions. Because it's not a very current useful function. Julia Cameron: Uh, well I think when they say power button they mean to turn the T_V_ on and off. Cindy Gonzales: No, Sue Squires: Yes. Cindy Gonzales: I think it's after after five minutes Sue Squires: Well Cindy Gonzales: or something Sue Squires: I Cindy Gonzales: a timer Sue Squires: I uh Cindy Gonzales: I I think, Julia Cameron: But if you're Cindy Gonzales: no? Julia Cameron: watching T_V_ for two hours, you don't want your T_V_ to turn off Sue Squires: You don't Julia Cameron: after Sue Squires: need Julia Cameron: five Sue Squires: to Julia Cameron: five Sue Squires: every Julia Cameron: minute Sue Squires: five minutes to keep it alive. Uh probably. Okay, so we should keep this button. Julia Cameron: I mean based Ellen Peters: Yeah. Julia Cameron: on our usability studies again, um pe um people said that the power button was v a very Cindy Gonzales: Oh okay, Julia Cameron: relevant button. Cindy Gonzales: yeah. Ellen Peters: Mm-hmm. Julia Cameron: Um, you know, it was nine out of ten Sue Squires: Okay, so Julia Cameron: re Sue Squires: we Julia Cameron: relevance. Sue Squires: 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 Cindy Gonzales: Yeah. Sue Squires: you are you just turn on the T_V_ and if you close it, it will Cindy Gonzales: Yeah. Sue Squires: turn off the T_V_. If if you like this, Julia Cameron: Okay. B Okay. Sue Squires: Because, well Julia Cameron: I think we need Sue Squires: it's Julia Cameron: to concentrate Sue Squires: maybe question Julia Cameron: on the, Sue Squires: for you Julia Cameron: you know, the Sue Squires: t Julia Cameron: major Ellen Peters: Mm-hmm. Julia Cameron: usage of the th of the control, Cindy Gonzales: Yeah. Julia Cameron: which is you sit down, you turn on your T_V_, you change channels, you change the volume, you turn the T_V_ off. Cindy Gonzales: Yeah. Julia Cameron: Um Cindy Gonzales: So s yeah. Julia Cameron: and all the other f functionality is Ellen Peters: Yeah, they Julia Cameron: not Ellen Peters: can Julia Cameron: used very often. Ellen Peters: yeah they can be hide somewhere by a cover or something Cindy Gonzales: Yeah. Ellen Peters: like this. Julia Cameron: Yeah. Ellen Peters: Like covering Cindy Gonzales: On the Sue Squires: Yeah. Cindy Gonzales: back, or Ellen Peters: cu. Sue Squires: I mean like the Ellen Peters: Yeah, like mobile phone Sue Squires: Yeah but Ellen Peters: covering. Sue Squires: 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 Cindy Gonzales: For what? Sue Squires: Uh Julia Cameron: I think a button. Ellen Peters: A button Sue Squires: power button. Ellen Peters: is better. Julia Cameron: I think it should Cindy Gonzales: Ah Julia Cameron: be a Sue Squires: If Julia Cameron: bu Sue Squires: it Cindy Gonzales: oh Ellen Peters: Yeah. Cindy Gonzales: yeah, Sue Squires: if Cindy Gonzales: yeah. Sue Squires: it's a button or Cindy Gonzales: Yeah Julia Cameron: Its own Cindy Gonzales: a Sue Squires: Okay. Cindy Gonzales: button, Julia Cameron: button Cindy Gonzales: yeah I guess Julia Cameron: on the Cindy Gonzales: so. Julia Cameron: front. Ellen Peters: Mm. Sue Squires: Okay, one nice big button. Old fashioned button, to satisfy the grandmothers. Hmm. Julia Cameron: Okay. Cindy Gonzales: So, Sue Squires: Mm. Julia Cameron: S Cindy Gonzales: any other suggestions or functions? Julia Cameron: What about things like the clock and um timers? Sue Squires: Do we still have the time? I I just wonder. Cindy Gonzales: Yeah, we have still one or two minutes Sue Squires: Okay. Cindy Gonzales: to talk, yeah. Sue Squires: Oh. Well what w Ellen Peters: Clock Sue Squires: what was the question? Ellen Peters: or Julia Cameron: Uh um, you know, some func some features on the control to display a time, or Cindy Gonzales: Usually Julia Cameron: t Cindy Gonzales: it's Julia Cameron: to Cindy Gonzales: already Julia Cameron: display Cindy Gonzales: on T_V_ or something like Ellen Peters: Yes. Cindy Gonzales: that. Sue Squires: Yeah but since we want to control all the televisions, and Cindy Gonzales: Yeah. Sue Squires: and it would probably be worth to to set the timing on the remote, no? Because Ellen Peters: Mm. Sue Squires: if if the T_V_ turns Cindy Gonzales: Yeah. Sue Squires: on itself, it Cindy Gonzales: Yeah. Sue Squires: well you Cindy Gonzales: If Sue Squires: know, Cindy Gonzales: we if Sue Squires: if Cindy Gonzales: we Sue Squires: the time Cindy Gonzales: add Sue Squires: The Cindy Gonzales: the time, Sue Squires: timer should be there. Cindy Gonzales: 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? Ellen Peters: Mm. Cindy Gonzales: This is the question. Julia Cameron: Probably not. Cindy Gonzales: Is it useful? Ellen Peters: Yes. Julia Cameron: It's a questi yeah, it's a trade-off. Cindy Gonzales: W In my opinion we should have only useful thing and Because Julia Cameron: 'Kay. Cindy Gonzales: apparently they want The simpler Sue Squires: Ah, Cindy Gonzales: it's is Sue Squires: yeah. Cindy Gonzales: better. Julia Cameron: Okay simple. Sue Squires: Did you did you ever use the like the timing of turning on the T_V_, well And based on Julia Cameron: Very, Sue Squires: your Julia Cameron: yeah okay, very occasionally. But I do use the I do use the display of the time quite often, Ellen Peters: Mm. Julia Cameron: but Sue Squires: Yeah but it can be on the display in in a corner all Julia Cameron: Yeah. Sue Squires: the time on the remote. Julia Cameron: Yeah that's okay, that's true. Okay, so no Cindy Gonzales: No time Julia Cameron: time Cindy Gonzales: on. Julia Cameron: button. Ellen Peters: And Julia Cameron: Okay. Ellen Peters: uh do we need to include anything about the speech recognition and the speech commands, Sue Squires: Yes Ellen Peters: or? Cindy Gonzales: I think Sue Squires: yes. Ellen Peters: 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. Cindy Gonzales: Yeah. Sue Squires: Yeah but we we should be careful about the battery life, then. If we use Cindy Gonzales: So Sue Squires: the Cindy Gonzales: maybe Sue Squires: speech Cindy Gonzales: we think Sue Squires: recognition. Cindy Gonzales: we can think more about that, and discuss that maybe last time Ellen Peters: Mm-hmm. Cindy Gonzales: next time. Sue Squires: Yeah. Cindy Gonzales: 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. Julia Cameron: Okay, Cindy Gonzales: Thank you everybody. Julia Cameron: cool. Okay Ellen Peters: Thanks. Julia Cameron: Thank you.

Cindy Gonzales opened the meeting and then Julia Cameron discussed user requirements. Julia Cameron 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. Sue Squires discussed particular components that a remote could include. Cindy Gonzales 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

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

Sheila Mccoy 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, Sheila Mccoy discussed selling prices and production costs for the remote the team will design. Sheila Mccoy 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. Sheila Mccoy 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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train

Lillian Schmidt: So Charlotte Kunka: So Lillian Schmidt: I hope you're ready for this uh functional design meeting. Charlotte Kunka: Of course. Lillian Schmidt: 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 Charlotte Kunka: Nice stuff Lillian Schmidt: yeah. So um let's go for the three presentations, so first Charlotte Kunka: Who starts? Lillian Schmidt: um Marketing Charlotte Kunka: Oh. Ha. Lillian Schmidt: Expert. Charlotte Kunka: okay. Lillian Schmidt: So wait a minute. Charlotte Kunka: So Lillian Schmidt: Mm. Charlotte Kunka: 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, Heather Dess: Sammy Charlotte Kunka: um Heather Dess: Benjo. Charlotte Kunka: yeah, Heather Dess: I know this Charlotte Kunka: this Heather Dess: name Charlotte Kunka: is Heather Dess: uh Charlotte Kunka: my name. Lillian Schmidt: Sounds uh Heather Dess: We. met Charlotte Kunka: So Heather Dess: before. Charlotte Kunka: as you know, you I think you already know Charlotte Kunka, 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. Lillian Schmidt: Mm Irene Casler: Yeah, it Lillian Schmidt: uh. Irene Casler: is put F_ five. Lillian Schmidt: Hmm. Charlotte Kunka: Hmm. Irene Casler: The full page presentation, Charlotte Kunka: Yeah maybe Irene Casler: yep. Charlotte Kunka: in the full page because Heather Dess: F_ Charlotte Kunka: i Lillian Schmidt: Okay. Heather Dess: F_ five. Irene Casler: Yeah. Charlotte Kunka: I spent Irene Casler: Yep. Charlotte Kunka: lots of time doing this presentation, Lillian Schmidt: F_ five. Charlotte Kunka: so. Irene Casler: Yeah. Charlotte Kunka: Uh-huh hmm okay. Lillian Schmidt: Mm-hmm. Mm. Charlotte Kunka: 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 Irene Casler: Yeah. Charlotte Kunka: is. Maybe Heather Dess: Agree. Charlotte Kunka: if we have something where we Irene Casler: Yeah. Charlotte Kunka: could ask the remote control please, where are you? Like Irene Casler: Yeah. Charlotte Kunka: 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 Irene Casler: You can Charlotte Kunka: your your Irene Casler: you Charlotte Kunka: remote Lillian Schmidt: Why Charlotte Kunka: control. Lillian Schmidt: not? Irene Casler: are. Charlotte Kunka: But why not? Yeah. And because of the fact that there are so many buttons in these remote controls that nobody use, in fact Irene Casler: Hmm. Charlotte Kunka: 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. Lillian Schmidt: Okay uh tha that's look Heather Dess: R_S_I_ Lillian Schmidt: great. Heather Dess: mm-hmm. Charlotte Kunka: Mm-hmm. Mm nobody has any idea about that? Well I'll Irene Casler: Yeah, Charlotte Kunka: check uh Irene Casler: it's Charlotte Kunka: with my Irene Casler: electromagnetic waves or something Charlotte Kunka: Oh, Irene Casler: kind of maybe Heather Dess: No, Charlotte Kunka: okay, Irene Casler: uh effect. Charlotte Kunka: I think Heather Dess: I Charlotte Kunka: it's Heather Dess: don't Charlotte Kunka: a technical Heather Dess: think so. Charlotte Kunka: thing which Irene Casler: Yeah, because infrared Charlotte Kunka: our Irene Casler: uses some Charlotte Kunka: Okay. Lillian Schmidt: Mm-hmm. Irene Casler: electromagnetic Lillian Schmidt: Okay. Irene Casler: technology, Heather Dess: Okay. Irene Casler: and those Charlotte Kunka: So, Irene Casler: waves Charlotte Kunka: it Irene Casler: have high Charlotte Kunka: seems Heather Dess: But twenty Charlotte Kunka: that Heather Dess: six percent, do you know Charlotte Kunka: it's a Irene Casler: Uh. Charlotte Kunka: lot of people for a Heather Dess: Twenty Charlotte Kunka: concept Lillian Schmidt: Or something Charlotte Kunka: that we Lillian Schmidt: we Charlotte Kunka: don't Lillian Schmidt: don't Charlotte Kunka: know Lillian Schmidt: know. Heather Dess: five. Charlotte Kunka: but Irene Casler: Uh. Charlotte Kunka: we have to take this into account. Heather Dess: Every fourth, you Lillian Schmidt: Mm-hmm. Heather Dess: know. Irene Casler: Yeah it's Heather Dess: Every four Irene Casler: People really Heather Dess: some of us knows. Lillian Schmidt: Okay. Charlotte Kunka: So anyway Heather Dess: One Charlotte Kunka: that's Heather Dess: of Charlotte Kunka: for Heather Dess: us Charlotte Kunka: what the biggest frustration uh of the user and um Irene Casler: Yeah. Yeah. Charlotte Kunka: what else do I have? Next slide? Ah yeah. Heather Dess: Mm-hmm. Charlotte Kunka: So we've listed a couple of uh Heather Dess: Functions. Charlotte Kunka: 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. Charlotte Kunka: Ah now I remember what is R_S_I_ it's repetitivity stress injury. We have to be careful with that word but Irene Casler: Uh. Charlotte Kunka: 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. Charlotte Kunka: 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. Lillian Schmidt: I have been told that we uh don't consider teletext, that it's out of date now because of internet. Charlotte Kunka: 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. Lillian Schmidt: Mm-hmm. Charlotte Kunka: But but if you compare with these ones, uh I think they scored a one or two. Not very Irene Casler: Hmm. Charlotte Kunka: relevant, so if if there are good reason not to put teletext it's okay but just know that people find it somehow relevant. Lillian Schmidt: Mm-hmm Heather Dess: Mm-hmm. Charlotte Kunka: 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. Irene Casler: Yeah. Charlotte Kunka: 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 Irene Casler: 'Cause Charlotte Kunka: 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 Lillian Schmidt: Mm-mm. Charlotte Kunka: now this Lillian Schmidt: Okay. Charlotte Kunka: 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? Lillian Schmidt: Mm I think it's good, okay. You done a good Heather Dess: I Charlotte Kunka: I can Heather Dess: got Lillian Schmidt: review. Charlotte Kunka: go back. Heather Dess: one question, Irene Casler: you. Charlotte Kunka: Yeah one question, yeah? Heather Dess: uh you are a Market Expert so Charlotte Kunka: I am. Heather Dess: should we aim at the young people or not? Charlotte Kunka: 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. Irene Casler: Mm. Charlotte Kunka: In general the the early adopters of a new device are young people, less than Heather Dess: Okay, Charlotte Kunka: more Irene Casler: Mm. Charlotte Kunka: than Heather Dess: then teletext is used less. Lillian Schmidt: Mm-hmm. Charlotte Kunka: Then teletext is useless for them I think, Heather Dess: Okay. Charlotte Kunka: yeah. Because they they have other means of finding Heather Dess: Mm-hmm. Charlotte Kunka: their Lillian Schmidt: Mm-hmm Charlotte Kunka: information. Heather Dess: Mm-hmm. Lillian Schmidt: mm Charlotte Kunka: Yeah. Lillian Schmidt: mm. Okay. Charlotte Kunka: But Lillian Schmidt: That's good Charlotte Kunka: yeah. Irene Casler: Mm, Lillian Schmidt: point. Heather Dess: Mm. Irene Casler: yep. Heather Dess: Okay. Charlotte Kunka: Nope. 'Kay? Lillian Schmidt: Okay. Irene Casler: Thank you. Lillian Schmidt: So um now I think it's the turn of the the I'm not sure um Lillian Schmidt: Of the technical function, so Charlotte Kunka: So Lillian Schmidt: uh Charlotte Kunka: I think it's you, Irene Casler: Uh it's Charlotte Kunka: huh? No? Heather Dess: That's Irene Casler: techni Heather Dess: Charlotte Kunka. Irene Casler: function Lillian Schmidt: what effect Charlotte Kunka: No, Irene Casler: of Charlotte Kunka: user requiremen Irene Casler: Yeah. Lillian Schmidt: Okay. Wait a Irene Casler: I Lillian Schmidt: second. Irene Casler: have to do Lillian Schmidt: Argh. Irene Casler: working design so uh. Lillian Schmidt: So Heather Dess: That's Lillian Schmidt: you're Heather Dess: 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 Charlotte Kunka 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 Lillian Schmidt: Okay. Heather Dess: slide please. Lillian Schmidt: Let's go. Heather Dess: And uh a general method which is seems Irene Casler: Mm. Heather Dess: 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 Charlotte Kunka: Makes sense. Heather Dess: 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 Irene Casler: It's Heather Dess: one would you prefer? I guess Irene Casler: Yeah, Heather Dess: this. Charlotte Kunka: I would say Irene Casler: yeah. Charlotte Kunka: the simplest one as long as there are the uh I find the buttons that I need every time I need a button. Heather Dess: Sure, Irene Casler: Yeah. Heather Dess: sure. Irene Casler: Maybe it can be yeah middle of like, Heather Dess: Yeah, Irene Casler: between those two li Heather Dess: and our method is going to be, provide simple Lillian Schmidt: Oh sorry. Heather Dess: simple desires into simple actions. Charlotte Kunka: Nice. Nice sentence. Heather Dess: Findings. Lillian Schmidt: Okay. Oh sorry. Heather Dess: Our question of the style, we should remember that our company puts fashion into electronics and we should never forget about it. Concept. Irene Casler: S you Heather Dess: Be Irene Casler: should Heather Dess: simple. Irene Casler: yeah. Heather Dess: Be simple and you'll lean on this market. Market is a of remote controls you know it better, Charlotte Kunka: Mm. Heather Dess: 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, Charlotte Kunka: Mm-hmm. Heather Dess: 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, Irene Casler: Mm. Heather Dess: 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_, Lillian Schmidt: It's Charlotte Kunka: Hmm. Lillian Schmidt: off. It's on. Heather Dess: the T_V_ turns on. Charlotte Kunka: And when does it turn off? Heather Dess: When you don't touch the control but you go out of the Charlotte Kunka: Oh Heather Dess: For Charlotte Kunka: so you have a Heather Dess: for enough time like uh you Charlotte Kunka: sensing sensor machine that uh Heather Dess: It's Charlotte Kunka: knows Heather Dess: a question to our technical Charlotte Kunka: Tech Heather Dess: 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 Lillian Schmidt: Or you want to go to Heather Dess: something, Lillian Schmidt: the kitchen. Heather Dess: and then the volume changes. Charlotte Kunka: Mm-hmm. Heather Dess: It's easy to do, you just control the Charlotte Kunka: According to your distance Irene Casler: Distance. Charlotte Kunka: to Heather Dess: According to the distance. Charlotte Kunka: and the angle maybe, if you have a Heather Dess: Yeah Charlotte Kunka: stereo system. Heather Dess: yeah yeah. Charlotte Kunka: Uh I'm Heather Dess: So Charlotte Kunka: not sure about the screen, wha what is the use usefulness of the screen? Uh is it a touch screen by the way? Heather Dess: I think it can be just a menu which can be controlled with a left, right, up, down and enter. Charlotte Kunka: So it gives Irene Casler: Yeah. Charlotte Kunka: instructions but uh it has to be with an back light somehow. Heather Dess: So, its main purpose in fact is a back light, Irene Casler: Mm-hmm. Charlotte Kunka: Okay. Heather Dess: 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? Charlotte Kunka: Okay. Lillian Schmidt: Mm. Heather Dess: So basically that's it. Lillian Schmidt: 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. Heather Dess: Can be easily done, Lillian Schmidt: Yeah. Heather Dess: 'cause you got simple designs, y we should put it to simple actions. Lillian Schmidt: Hmm. Heather Dess: 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. Lillian Schmidt: Mm-hmm. Heather Dess: Just Irene Casler: Mm. Heather Dess: few actions, a few actions for everything. Lillian Schmidt: Hmm. S Heather Dess: All the rest, we sh we'll put it into this menu on the screen. Lillian Schmidt: 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 Irene Casler: Mm. Lillian Schmidt: and Heather Dess: Okay, okay. Irene Casler: Yeah Lillian Schmidt: then Irene Casler: and it Lillian Schmidt: maybe Irene Casler: mm. Lillian Schmidt: m Heather Dess: Okay, Lillian Schmidt: make Heather Dess: but it's quite Lillian Schmidt: it Heather Dess: universal Lillian Schmidt: more generalised Irene Casler: Mm. Heather Dess: you know. Lillian Schmidt: yeah. Heather Dess: We can just extend it to any Irene Casler: Mm. Heather Dess: device. Charlotte Kunka: 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 Heather Dess: Mm-hmm. Charlotte Kunka: easy to go just next next next when you have hundreds of channels. Heather Dess: In fact Charlotte Kunka: Or is Heather Dess: I would Charlotte Kunka: it? Heather Dess: propose another solution. Basically you use just four or five channels, Charlotte Kunka: Most Heather Dess: right? Charlotte Kunka: people yeah. Heather Dess: 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. Charlotte Kunka: 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. Lillian Schmidt: Yeah it's Charlotte Kunka: I uh Lillian Schmidt: it's the same Irene Casler: Yeah. Lillian Schmidt: solution, I think. Charlotte Kunka: B yeah. Lillian Schmidt: Hmm. Irene Casler: But even we can have some uh L_C_D_ display, like you can uh Charlotte Kunka: Go Irene Casler: de Charlotte Kunka: to Irene Casler: you Charlotte Kunka: channel Irene Casler: can just Charlotte Kunka: twenty five. Irene Casler: button the number and Charlotte Kunka: One Irene Casler: then Charlotte Kunka: thing Irene Casler: it Charlotte Kunka: is Irene Casler: go Charlotte Kunka: that Irene Casler: t Charlotte Kunka: as I said Irene Casler: because Charlotte Kunka: in my presentation people really do like to z zap. So Irene Casler: Yeah. Charlotte Kunka: even if they are only watching four or five channels, Heather Dess: Mm-hmm. Charlotte Kunka: I think Irene Casler: But Charlotte Kunka: they Irene Casler: still Charlotte Kunka: want to zap out of the one hundred channels, Irene Casler: Yeah. Charlotte Kunka: just because this is one kind of thing they do, Lillian Schmidt: Yeah Charlotte Kunka: zapping. Lillian Schmidt: uh on zap Irene Casler: Yeah. Lillian Schmidt: it's only next next Charlotte Kunka: And it's Lillian Schmidt: next Charlotte Kunka: only Lillian Schmidt: next Charlotte Kunka: next. Irene Casler: Yeah. Lillian Schmidt: next, Charlotte Kunka: Yeah Lillian Schmidt: yeah. Charlotte Kunka: so but Heather Dess: Mm. Charlotte Kunka: you have to Lillian Schmidt: Mm-hmm. Heather Dess: We got these buttons here. Charlotte Kunka: Okay. Heather Dess: Next next. Irene Casler: Yeah.. Heather Dess: Or say this can be back. Irene Casler: Yeah. But otherwise like we can put some display on numbers and then they can just press Charlotte Kunka: So Irene Casler: suppose Charlotte Kunka: it would be Irene Casler: two five they just press two and five and then Charlotte Kunka: Okay. Irene Casler: Yeah. Lillian Schmidt: Maybe we can make uh different modes for each button and you Irene Casler: Yeah. Lillian Schmidt: can change mode zapping Irene Casler: Yeah, Lillian Schmidt: mode Irene Casler: yeah. Lillian Schmidt: or Charlotte Kunka: Mm-hmm. Alright. Lillian Schmidt: uh current Irene Casler: Yeah, Lillian Schmidt: chan Irene Casler: yeah. Yeah Charlotte Kunka: Listening Irene Casler: but since we are focusing Charlotte Kunka: more. Irene Casler: only on T_V_ remote controls Lillian Schmidt: Yeah. Irene Casler: so Charlotte Kunka: Mm-hmm. Irene Casler: 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. Lillian Schmidt: Mm-hmm. Charlotte Kunka: Okay. Heather Dess: 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? Charlotte Kunka: Well I could could uh have a look at that Irene Casler: Yeah. Yeah. Charlotte Kunka: maybe. Heather Dess: Okay. Charlotte Kunka: I'll check in my department if there's someone specialist in that. Heather Dess: Okay. Charlotte Kunka: Although I don't know. Lillian Schmidt: Okay. Heather Dess: Alright? Thanks for your attention. Lillian Schmidt: Uh you're finish? Okay. So now the technical aspects of this new device. Mm. Irene Casler: Two. Yeah, if Sorry. Lillian Schmidt: You prefer it. Irene Casler: 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 Lillian Schmidt: Mm-hmm. Irene Casler: some T_V_s will have different encryption codes for doing s s uh channel changing Lillian Schmidt: Okay. Irene Casler: and these things. Lillian Schmidt: To make it quite uh an universal uh device Irene Casler: Yeah yeah, Lillian Schmidt: uh. Irene Casler: because the people don't use one particular brand so Lillian Schmidt: Mm. Irene Casler: or at least we have more more than five brands, which Lillian Schmidt: Okay. Irene Casler: 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. Lillian Schmidt: Okay. Irene Casler: 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 Lillian Schmidt: Mm-hmm. Irene Casler: Interface, so if you want to add some more components we Lillian Schmidt: Mm-hmm. Irene Casler: can Lillian Schmidt: And Irene Casler: incorporate Lillian Schmidt: from from Irene Casler: them. Lillian Schmidt: the discussion we had do you Irene Casler: Yeah. Lillian Schmidt: can you make it on the whiteboard, or Irene Casler: Yeah, Lillian Schmidt: mm. Irene Casler: I'm sure, because since our User Interface speech recognition and also Marketing Lillian Schmidt: Mm-hmm. Irene Casler: Expert for the speech recognition is really handy, Charlotte Kunka: Mm-hmm. Lillian Schmidt: Mm-hmm. Irene Casler: so we can have another, like uh s simple speech recogniser on our D_S_B_ Lillian Schmidt: Mm. Irene Casler: 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 Lillian Schmidt: On Irene Casler: we can also train the speech recogniser for particular user so you just Lillian Schmidt: Uh train it, okay. Irene Casler: yeah, Charlotte Kunka: Mm-hmm. Lillian Schmidt: Mm-hmm. Irene Casler: so that we just use simple Heather Dess: Too complex. Irene Casler: recog no Charlotte Kunka: But Irene Casler: but Charlotte Kunka: uh very Irene Casler: but Charlotte Kunka: very good to sell. Irene Casler: Yeah. No, even in even simple mobile device like any mobile brand you can have these voice dialers or Charlotte Kunka: Think Irene Casler: these Charlotte Kunka: of Irene Casler: things, Charlotte Kunka: a all Heather Dess: Okay. Charlotte Kunka: these young Irene Casler: yeah. Charlotte Kunka: people who would love to say that this remote control only works for them, Heather Dess: Okay. Irene Casler: Yeah. Charlotte Kunka: and ha ha you cannot use my remote control, because Lillian Schmidt: Mm. Charlotte Kunka: it's targeted Irene Casler: Yeah. Charlotte Kunka: to Charlotte Kunka. Whatever. Lillian Schmidt: And what Irene Casler: So Lillian Schmidt: about the price of this component? Irene Casler: Uh maybe we can make uh Lillian Schmidt: It Irene Casler: it Lillian Schmidt: mm Irene Casler: in five Euros and Lillian Schmidt: okay. Irene Casler: even Charlotte Kunka: Hmm. Irene Casler: less Charlotte Kunka: Cheap. Irene Casler: than that, because we want to have Charlotte Kunka: Millions. Irene Casler: uh millions and Lillian Schmidt: Mm. Irene Casler: in bulk, so we can make really simp Lillian Schmidt: Okay. Irene Casler: and Charlotte Kunka: Cheap. Irene Casler: we want to make really simple device because we have only very few words like like power, switch on Lillian Schmidt: Mm-hmm. Irene Casler: 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 Charlotte Kunka: The Irene Casler: listen. Charlotte Kunka: user uh Lillian Schmidt: Mm-hmm. Charlotte Kunka: will just be able to say uh please can you uh pump up the vo pump up the volume or or it Irene Casler: Ye Charlotte Kunka: will be something like volume, Irene Casler: No, yeah, Charlotte Kunka: up, Irene Casler: a Charlotte Kunka: down. Irene Casler: user can use any kind of sender but they should have this prompt volume and Charlotte Kunka: Okay. Irene Casler: then Lillian Schmidt: With a keywords and Irene Casler: yeah Lillian Schmidt: yeah. Irene Casler: volume and decrease or increase, so Charlotte Kunka: Okay. Irene Casler: we try to only recognise those Charlotte Kunka: Couple Irene Casler: words Charlotte Kunka: of words. Irene Casler: and Lillian Schmidt: Mm-hmm mm. Irene Casler: and because we can't really say user to say same wording then it become Lillian Schmidt: Mm-hmm. Irene Casler: more mechanical and Charlotte Kunka: Okay. Irene Casler: yeah. Lillian Schmidt: Okay. Heather Dess: Um. Irene Casler: 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 Charlotte Kunka: Of course Irene Casler: else Lillian Schmidt: Okay. Charlotte Kunka: uh Irene Casler: because Charlotte Kunka: it has to Irene Casler: it Heather Dess: Okay. Irene Casler: will Charlotte Kunka: be Irene Casler: be complicated so we'll have only these three uh main basic uh Charlotte Kunka: Okay. Irene Casler: anyway volume is not really speech recognition problem, it's it it will be take care of our main Heather Dess: No you know it's a conceptual Irene Casler: mm. Heather Dess: 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 Charlotte Kunka: But Heather Dess: up, Charlotte Kunka: then I Heather Dess: and Charlotte Kunka: think you Heather Dess: and he's coming you know, he's really annoyed with this, Charlotte Kunka: you Heather Dess: down, up, down. Charlotte Kunka: First of all I I think this is not uh functionality that it is going to be instead of using Lillian Schmidt: No, Charlotte Kunka: the buttons. Lillian Schmidt: in no not Charlotte Kunka: It's Lillian Schmidt: only Charlotte Kunka: on Lillian Schmidt: speech, Charlotte Kunka: top Lillian Schmidt: yeah. Charlotte Kunka: of using the button. Heather Dess: Okay, for Lillian Schmidt: I Heather Dess: this Lillian Schmidt: it's Heather Dess: budget Lillian Schmidt: an option. Heather Dess: like twelve Euros. Charlotte Kunka: Well, I dunno. Irene Casler: 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. Heather Dess: Mm-hmm. Irene Casler: 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 Heather Dess: Okay.. Irene Casler: it may not be like very expensive, because since we are only focusing on Charlotte Kunka: T_V_. Irene Casler: T_V_ remote control so Lillian Schmidt: Okay. Heather Dess: Mm-hmm, Irene Casler: and we have Heather Dess: mm-hmm. Irene Casler: only few Lillian Schmidt: Sho Irene Casler: things here Lillian Schmidt: to to train, okay. Irene Casler: Yeah. Heather Dess: 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 Irene Casler: Um Heather Dess: roll 'em up Irene Casler: uh Heather Dess: or roll 'em down. Lillian Schmidt: Mm. Irene Casler: uh this point we didn't consider because it's Charlotte Kunka: Very expensive, Irene Casler: it's Charlotte Kunka: no? Irene Casler: very expensive because v our target is only like Lillian Schmidt: And Irene Casler: twelve Lillian Schmidt: well, Irene Casler: point five Euros Lillian Schmidt: what Heather Dess: Mm Lillian Schmidt: about Irene Casler: and Heather Dess: why? Lillian Schmidt: the idea of Heather Dess: That's Lillian Schmidt: automatic Heather Dess: just Lillian Schmidt: on off on Charlotte Kunka: And Lillian Schmidt: the Charlotte Kunka: volume Irene Casler: Yeah, Charlotte Kunka: control. Irene Casler: even automatic Lillian Schmidt: button, yeah. Irene Casler: 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 Charlotte Kunka: So but Irene Casler: you don't Charlotte Kunka: uh Irene Casler: know how much time you need to switch on or switch off and Charlotte Kunka: 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 Irene Casler: Yay yeah. Charlotte Kunka: and uh with our own personal uh settings. Irene Casler: 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 Charlotte Kunka: Hmm. Irene Casler: uh after one hour I Lillian Schmidt: Wouldn't that make Irene Casler: They can Lillian Schmidt: uh Irene Casler: make Lillian Schmidt: arguments? Charlotte Kunka: Yeah, of Lillian Schmidt: I Charlotte Kunka: course. Lillian Schmidt: want uh Charlotte Kunka: That's no problem, we will sell more. Irene Casler: Yeah we can have Lillian Schmidt: And we Heather Dess: We Lillian Schmidt: can Heather Dess: got Lillian Schmidt: increase this Heather Dess: a Lillian Schmidt: the strength Charlotte Kunka: Yeah exactly. Lillian Schmidt: y you can Heather Dess: really Lillian Schmidt: buy Heather Dess: good Market Lillian Schmidt: one Heather Dess: Expert. Lillian Schmidt: with Irene Casler: Yeah. Heather Dess: Let's send more, let's sell more. Okay. Lillian Schmidt: Mm-hmm. Okay. You have mm something else to say? Irene Casler: Uh, Lillian Schmidt: Uh. Irene Casler: not very much, like Lillian Schmidt: No. Irene Casler: yeah. Charlotte Kunka: Okay. Thanks. Lillian Schmidt: Okay, Irene Casler: Thank you. Lillian Schmidt: thanks. Irene Casler: Yep. Thank you. Lillian Schmidt: So Irene Casler: Can you just yeah. Lillian Schmidt: mm mm I think, okay, we're just on time. Um mm mm. So, we're now going to l have the lunch break. Charlotte Kunka: Mm great. Lillian Schmidt: 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 Irene Casler: Yeah Lillian Schmidt: concept Irene Casler: yeah. Lillian Schmidt: um uh of course the Irene Casler: Mark Lillian Schmidt: U_I_D_ Irene Casler: will Lillian Schmidt: 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. Irene Casler: Uh it's Charlotte Kunka: Difficult. Irene Casler: in current price, Lillian Schmidt: Yeah, Irene Casler: yeah. Lillian Schmidt: maybe in the next Irene Casler: Yeah. Lillian Schmidt: uh step if we make it work um. Irene Casler: But speech recogniser can be Lillian Schmidt: Yeah, Irene Casler: possible. Lillian Schmidt: implemented. O okay, we Charlotte Kunka: Mm-hmm. Lillian Schmidt: can think about that. And um do you see something else? Charlotte Kunka: No. Heather Dess: Uh, should it be equipped with the uh, with uh speakers? Charlotte Kunka: Speakers Heather Dess: Like, Charlotte Kunka: in the remote Heather Dess: you want Charlotte Kunka: cont Heather Dess: to find it, you shout Charlotte Kunka: Oh yeah. Heather Dess: control, Lillian Schmidt: Uh yeah that's Heather Dess: and it answers is I'm here? Or Charlotte Kunka: It just beeps. That would be enough. Heather Dess: Just beeps? Lillian Schmidt: Or maybe Charlotte Kunka: Something Lillian Schmidt: you Charlotte Kunka: very Lillian Schmidt: want Charlotte Kunka: cheap. Lillian Schmidt: to phone him. Charlotte Kunka: But that's Irene Casler: Yeah Lillian Schmidt: Since Irene Casler: yeah Charlotte Kunka: ex Lillian Schmidt: now Irene Casler: yeah. Lillian Schmidt: all Charlotte Kunka: that's expensive. Lillian Schmidt: yeah? Charlotte Kunka: Uh. Irene Casler: Yeah, especially Lillian Schmidt: Think Irene Casler: the power, it really consumes because Lillian Schmidt: Uh-huh. Irene Casler: it should be all the time on and Charlotte Kunka: Well I Lillian Schmidt: And uh Charlotte Kunka: I heard of devices where you just uh whistle them and Lillian Schmidt: And Charlotte Kunka: and they Lillian Schmidt: it's answered. Charlotte Kunka: because Irene Casler: Yeah. Charlotte Kunka: of the the frequency they Irene Casler: Yeah. Charlotte Kunka: they just Heather Dess: I can't whistle. Charlotte Kunka: answer to that. Heather Dess: No, Charlotte Kunka: You can't whistle. Heather Dess: no, Charlotte Kunka: Uh-huh. Heather Dess: I can't. Charlotte Kunka: Or a clap. Heather Dess: Mm. Lillian Schmidt: Clap Charlotte Kunka: You can clap. Lillian Schmidt: clap Charlotte Kunka: Can you? Irene Casler: Yeah. Lillian Schmidt: clap it's a good Charlotte Kunka: Clap is good. Lillian Schmidt: I Irene Casler: Yeah. Lillian Schmidt: I think Charlotte Kunka: Tak Lillian Schmidt: it's universal. Charlotte Kunka: Just a Lillian Schmidt: What about Charlotte Kunka: suggestion. Heather Dess: Okay. Lillian Schmidt: people without hand? Yeah. Charlotte Kunka: With only one hand? Irene Casler: Yeah I think it's good. Charlotte Kunka: These are not our target Lillian Schmidt: Mm Charlotte Kunka: people. Lillian Schmidt: uh okay. Irene Casler: But it's a good feature I guess yeah we need to Lillian Schmidt: Mm-hmm. Irene Casler: think about more Lillian Schmidt: Okay. Irene Casler: how to incorporate it. Heather Dess: Just don't interfere with other devices like 'cause Charlotte Kunka: Mm-hmm. Heather Dess: like all these people do that their lights are turning on with clapping. Charlotte Kunka: Oh Irene Casler: Oh. Charlotte Kunka: that's e that already exists Heather Dess: Yeah, Charlotte Kunka: okay Heather Dess: I got it Charlotte Kunka: okay. Heather Dess: at my home, Lillian Schmidt: Mm-hmm. Heather Dess: like. Charlotte Kunka: Oh yeah, you do Heather Dess: Oops. Charlotte Kunka: have. Wow. Irene Casler: Ah Charlotte Kunka: You're Irene Casler: it's Charlotte Kunka: trendy. Lillian Schmidt: Mm-hmm, so let's to think s Charlotte Kunka: Think about Lillian Schmidt: so Charlotte Kunka: it. Lillian Schmidt: that Charlotte Kunka: Yeah, Lillian Schmidt: yeah. I Charlotte Kunka: okay. Lillian Schmidt: think that could be in the component uh concept Irene Casler: Yeah. Lillian Schmidt: uh. It yes. Charlotte Kunka: Okay. Lillian Schmidt: Okay. Charlotte Kunka: Good we're done? Lillian Schmidt: So, yeah Irene Casler: Yeah. Lillian Schmidt: let's, Charlotte Kunka: Right, Lillian Schmidt: go Charlotte Kunka: thanks. Lillian Schmidt: to lunch. Irene Casler: Thank you, thank you very much.

Lillian Schmidt opened the meeting and stated the agenda to the team members. Charlotte Kunka 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. Charlotte Kunka 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. Heather Dess 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. Irene Casler discussed the interior workings of a remote and how to handle universal capability and speech recognition. After Lillian Schmidt's closing, Lillian Schmidt recapped some decisions and the team discussed how to handle the issue of locating a remote when misplaced.

amisum

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Sophie Forrester: Okay, so now we are on the conceptual design meeting. Ana Garcia: Mm-hmm. Sophie Forrester: Uh y getting close to the last is the penultim meeting. Beatriz Mcelvain: How was lunch? Sophie Forrester: Mm great. Ana Garcia: Thanks Don't be sarcastic Mark. Sophie Forrester: So um I will again do the secretary part uh we will have three presentation first um uh the Ana Garcia: Uh Sophie Forrester: industrial Ana Garcia: Rama. Sophie Forrester: design, Linda Wolf: Ramaro. Sophie Forrester: first Rama then Mark and then Sammy. Um um we have to take a decision on the control remote control concepts and we have forty minutes. Beatriz Mcelvain: Mm. Sophie Forrester: So what we want to the decision we want to take this meeting on the um first on the component concept, so what kind of energy we use uh what kind of chip on print and one ki kind of case. And also on user interface concept uh what kind of interface we use and if there is some supplements. And at the end um Sammy will give um a trend watching on what he's he's been doing. It's So, let's go. First with Rama. Sophie Forrester: Participant two. Linda Wolf: Yeah, participant two. Component. Sophie Forrester: Mm-hmm. Linda Wolf: Yep. So we're to mainly design f mainly need to know which components we'll use for energy, and the material and interface. For energy there are maybe two or three possibilities. First one, we can use simple battery, or we can use traditional solar cells or mm and the material we can have plastic, rubber which is good for this R_S_A_ Ana Garcia: Ah. Linda Wolf: and then uh titanium, which can be which have very good look an and then interface we're to use push buttons or liquid crystal d L_C_D_ display. And we can use some, moving kind of thing. So, as we discussed before, we need to we would like to have some speech recognition s chip in our remote control. So this can be simple kind of programmable chip and which can use microphone sensors. And we also want to look at our remote control, so. Still we are looking for possible uh technical uh specifications and how w easy we can do and within our pri range, like we're to in our twelve Euros or around that. So we are looking for simple devices or simple technology to do the location of remote control in a room Sophie Forrester: Mm-hmm, Linda Wolf: or Sophie Forrester: okay. Linda Wolf: in a house. So uh we discussed an Excuse Ana Garcia. So we would like to propose battery instead of solar cells and it would be problematic uh to have Ana Garcia: Mm-hmm. Linda Wolf: enough energy with the solar cells and so we would like to just use simple battery. And also we want to go for titanium design instead of rubber or and well the problem is with this design we found that we can't use double-curved shapes. Ana Garcia: What is a double-curved shape? Linda Wolf: Like you can have two curves. Ana Garcia: Uh-huh. Beatriz Mcelvain: Why? Linda Wolf: Uh it's I think in manufacturing I guess it's problematic. So, we want to go for simple push buttons because it need a simple chip and it's really lesser uh re really less expensive compared to L_C_D_ which are uh which needs advanced chip technology and it's more expensive, since we Beatriz Mcelvain: Mm-hmm. Linda Wolf: want to put some other features such as speech recognition we want to reduce uh Ana Garcia: The cost. Sophie Forrester: Um I want Linda Wolf: cost. Sophie Forrester: to know why it b uh just uh sorry but for the point before uh Linda Wolf: Uh Sophie Forrester: why not the rubber, if Linda Wolf: Uh Sophie Forrester: it is something that it seems to be Linda Wolf: And also Sophie Forrester: light. Linda Wolf: like in if you put a it's be difficult to do all the moulding of buttons and these things Sophie Forrester: Okay. Linda Wolf: and Sophie Forrester: You m titanium it's more uh Linda Wolf: Yeah. Beatriz Mcelvain: W we can use something like you know the whole body's titanium but there are some rubber or I dunno some rubber parts like Ana Garcia: Mm like Linda Wolf: Yeah. Ana Garcia: this? Sophie Forrester: Yes Beatriz Mcelvain: to make it Sophie Forrester: so Beatriz Mcelvain: feel better Sophie Forrester: mm Beatriz Mcelvain: and to you know Linda Wolf: Like in cell phones recently Ana Garcia: Mm-hmm. Linda Wolf: these Sophie Forrester: Uh-huh. Beatriz Mcelvain: Yeah. Linda Wolf: you can Beatriz Mcelvain: Yeah. Linda Wolf: with the rubber in four directions Sophie Forrester: Okay. Linda Wolf: and yeah. But full assembly We'll use mainly for titanium Sophie Forrester: Okay. Linda Wolf: rubber is expensive Sophie Forrester: Okay. Linda Wolf: and also it's bit difficult to do all the shapes Sophie Forrester: Okay. Linda Wolf: uh. And this push Sophie Forrester: Uh Linda Wolf: buttons Sophie Forrester: yeah Linda Wolf: we Sophie Forrester: so Linda Wolf: we would like to use push buttons instead of L_C_D_s and so we want to mo I mean we're we want to put speech recognition so we want to reduce price on this technology and so that we can have Sophie Forrester: Okay, Linda Wolf: enough space Sophie Forrester: s so Linda Wolf: or enough money Sophie Forrester: simple Linda Wolf: for Sophie Forrester: button and uh Linda Wolf: S Sophie Forrester: speech Linda Wolf: S Ana Garcia: Speech Sophie Forrester: recognition for the more complicated. Linda Wolf: Y Beatriz Mcelvain: Mm-hmm. Linda Wolf: yeah we have simple buttons and speech recognition technology, Sophie Forrester: Okay. Beatriz Mcelvain: Okay, Linda Wolf: so Beatriz Mcelvain: and still we have mm can we still include the L_ L_S_D_ display? Ana Garcia: L_C_D_. Beatriz Mcelvain: L_C_D_ yeah L_C_D_. Linda Wolf: Uh l Ana Garcia: Seems not, it's either Linda Wolf: So Ana Garcia: L_C_D_ Linda Wolf: uh Ana Garcia: or push-button. Linda Wolf: it's Beatriz Mcelvain: No, Linda Wolf: like Beatriz Mcelvain: it's Linda Wolf: a Beatriz Mcelvain: not gonna be a t no touchable but still like a source of information or source for menus. Ana Garcia: Ah. Linda Wolf: Yeah maybe maybe we can see depending on how we'll come up with our full design then if we have enough money or like for Beatriz Mcelvain: Okay, Linda Wolf: and Beatriz Mcelvain: so Linda Wolf: because Beatriz Mcelvain: try Linda Wolf: the Beatriz Mcelvain: it, Linda Wolf: speech Beatriz Mcelvain: let's t Linda Wolf: recognition technology will take at least five Euros or or something so Ana Garcia: The Linda Wolf: we want to reduce Ana Garcia: L_C_D_ Linda Wolf: the Ana Garcia: would Linda Wolf: cost on display or this Ana Garcia: The display Linda Wolf: inter Ana Garcia: would only be display and not uh Beatriz Mcelvain: Yeah, Ana Garcia: touch sensitive Beatriz Mcelvain: yeah, Ana Garcia: you mean. Beatriz Mcelvain: it's Ana Garcia: Just Beatriz Mcelvain: it's Ana Garcia: uh Beatriz Mcelvain: not Ana Garcia: for Beatriz Mcelvain: gonna Ana Garcia: output, Beatriz Mcelvain: be a touch pad, uh just Ana Garcia: yeah. Beatriz Mcelvain: a display for Ana Garcia: Yeah. Linda Wolf: Ok Beatriz Mcelvain: giving you information. Linda Wolf: Yeah, that Sophie Forrester: Mm-hmm. Linda Wolf: can we we can consider, because like it won't take Beatriz Mcelvain: Mm-hmm. Linda Wolf: much money I guess, because Sophie Forrester: Okay. Linda Wolf: Okay, yep. Sophie Forrester: Mm. Linda Wolf: You have any further questions or? Ana Garcia: I guess no um. So the batteries uh are Linda Wolf: Yeah. Ana Garcia: going to be very light. Linda Wolf: Yeah, we're to go for li and now I think we have many options in the market so we can Ana Garcia: Okay Linda Wolf: go for small Beatriz Mcelvain: Mm-hmm. Linda Wolf: nickel or Beatriz Mcelvain: Mm-hmm. Linda Wolf: alkaline batteries for really light batteries and with uh good price. Ana Garcia: So this device on n that can be used for speech recognition could also be used for just uh the finding it basically, instead of clapping why not Linda Wolf: Yeah, that's Ana Garcia: just be Linda Wolf: then the Ana Garcia: ask. Linda Wolf: the one thing we want to know is like because remote control is used for like in the household so it it it will be it m maybe at least five, six people want to use it so Ana Garcia: Mm-hmm. Linda Wolf: so how to uh uh how to define our re speech recognition whether we want to do s speaker independent or speaker dependent. If we're going for more speaker independent then it would be like again cumbersome and we need really m more technology and Sophie Forrester: Okay, for Linda Wolf: so Sophie Forrester: the location. Linda Wolf: Yeah, if Sophie Forrester: Hmm. Linda Wolf: if everybody in the house n to locate then we're to go for some speaker independent technology or Ana Garcia: Okay. Linda Wolf: something. Sophie Forrester: Okay. So let's now go to the you don't have more Ana Garcia: No, Sophie Forrester: question? Ana Garcia: it's okay. Beatriz Mcelvain: No more Sophie Forrester: Um Beatriz Mcelvain: questions. Linda Wolf: Yep. Thank Sophie Forrester: mm Linda Wolf: you. Ana Garcia: Puts less of constraint Sophie Forrester: thank you Ana Garcia: on Sophie Forrester: mm. Ana Garcia: what we can do but Beatriz Mcelvain: Mm yeah, Sophie Forrester: Yeah. Linda Wolf: Yeah. Beatriz Mcelvain: yeah. Ana Garcia: it's always like that. We have dreams and the in the end we find out that it's not feasible. Sophie Forrester: Yeah, Linda Wolf: Oh. Sophie Forrester: but Ana Garcia: Anyway. Linda Wolf: We Sophie Forrester: mm. Linda Wolf: have uh some limitations. Ana Garcia: Yeah. Beatriz Mcelvain: But still uh L_S_D_'s already Ana Garcia: L_C_D_. Beatriz Mcelvain: quite nice, Ana Garcia: L_S_D_ Beatriz Mcelvain: L_C_ Ana Garcia: is something else, and it's quite nice Beatriz Mcelvain: I'm Ana Garcia: as Beatriz Mcelvain: an Ana Garcia: well. Beatriz Mcelvain: artist, sorry. Sophie Forrester: Okay. Ana Garcia: So, Beatriz Mcelvain: So uh, that's Sophie Forrester: Um Ana Garcia: go Beatriz Mcelvain: not Ana Garcia: on uh Beatriz Mcelvain: I hope Ana Garcia: artist. Beatriz Mcelvain: that's not too much. Sophie Forrester: yeah. Now Beatriz Mcelvain: Okay. Sophie Forrester: let's talk about uh interface. Beatriz Mcelvain: Uh participant number three. Sophie Forrester: Three. Linda Wolf: Three. Beatriz Mcelvain: Uh Sophie Forrester: Which one? Ana Garcia: Hmm. Beatriz Mcelvain: mm mm uh have a look at this no it's yeah. Sophie Forrester: Okay. Beatriz Mcelvain: Uh so the concept of the interface. Generally I developed quite a broad concept not only for the interface, but for possible instruction or user's manual and uh all the complex things that come together with your T_V_ and remote controls. So let's start with this. We got our perfect remote control with a lot of buttons and uh we got explanation for every button and you can use your time and uh it will take i some days to learn all this buttons and um the L_C_D_ is going to be somewhere here and uh go back button, I don't know really where it is, maybe one of this buttons, and um power on and off mm I Sophie Forrester: Mm. Beatriz Mcelvain: I don't remember so uh it it it should be maybe this button is power on and off? Or no? I can see nothing. So that's our concept. It's called the millennium remote control. Ana Garcia: Let's change millenniums. Beatriz Mcelvain: Yeah. Linda Wolf: So maybe you can use in the end Ana Garcia: doesn't Linda Wolf: and Ana Garcia: make sense. This is very Beatriz Mcelvain: Really? I Ana Garcia: ugly. Beatriz Mcelvain: thought you like it. Ana Garcia: Oh no, Beatriz Mcelvain: Ah okay just press Ana Garcia: too much Beatriz Mcelvain: the button, Ana Garcia: concept. Beatriz Mcelvain: please uh. Ana Garcia: Ah. Sophie Forrester: No. Linda Wolf: Uh Beatriz Mcelvain: Yeah, we will not use this. We will not use this. But instead of this I will devise Ana Garcia: Ah, Beatriz Mcelvain: That's Ana Garcia: back Beatriz Mcelvain: our Ana Garcia: today. Beatriz Mcelvain: concept. And it's got just few buttons, quite low looking, and all this stuff we already we already discussed. Sophie Forrester: Mm-hmm. 'Kay. Beatriz Mcelvain: And uh what will people say? They'll say it's perfect. Or what will say? Uh they will say it's splendid. And uh e everyone will say I'll buy it. Sophie Forrester: Mm-hmm. Beatriz Mcelvain: And everyone's gonna be satisfied. Ana Garcia: Do you think it can come in several colours? Or did the Beatriz Mcelvain: I would make a backlight of the L_C_D_ screen with different colours. Ana Garcia: Um but not the case. Beatriz Mcelvain: Not the case. Ana Garcia: Uh the case would only be in that uh aluminium uh titanium stuff, like Beatriz Mcelvain: Yeah. Linda Wolf: Mm. Sophie Forrester: Because apparently from your survey people like colours, no? Ana Garcia: Yeah, Linda Wolf: Yeah. Ana Garcia: well they like uh something which is Beatriz Mcelvain: Okay, Ana Garcia: uh Beatriz Mcelvain: so let's remember there's a Nokia phone which changeable panels. Ana Garcia: Mm yeah, okay, so that would Beatriz Mcelvain: Do you Ana Garcia: be Beatriz Mcelvain: like it? Ana Garcia: the option. I don't know I don't have a Nokia phone, but Linda Wolf: But it's Ana Garcia: I Linda Wolf: uh Ana Garcia: don't use that but again, uh Beatriz Mcelvain: That's why you Ana Garcia: I Beatriz Mcelvain: don't Ana Garcia: might Beatriz Mcelvain: have it. Ana Garcia: Yeah, Beatriz Mcelvain: That's Ana Garcia: bu Beatriz Mcelvain: why, 'cause Ana Garcia: but Beatriz Mcelvain: it's nasty. Linda Wolf: But it would be expensive, no? If you use colour L_C_D_. Beatriz Mcelvain: No. Linda Wolf: Uh instead of that maybe we can change the colour of Ana Garcia: Mm-hmm. Linda Wolf: the assembler. Maybe we can just if users want more colours they can pay more money to get this uh the shapes and they can have different assembly. Beatriz Mcelvain: Um, I am here. Linda Wolf: So Sophie Forrester: Okay. Linda Wolf: users have different I mean they have their own interests, colour interests and so Sophie Forrester: So? Beatriz Mcelvain: Mm-hmm. Linda Wolf: So we can just if they want they can just pay another two Sophie Forrester: Uh-huh, Beatriz Mcelvain: 'Kay. Sophie Forrester: okay, Linda Wolf: Euro. Sophie Forrester: so you you propose something with option Linda Wolf: Yeah. Sophie Forrester: i that increase the price if we Linda Wolf: Yeah yeah yes. Sophie Forrester: if Linda Wolf: If Sophie Forrester: you want Linda Wolf: they want like Sophie Forrester: o Linda Wolf: uh so Sophie Forrester: more Linda Wolf: that we Sophie Forrester: colours Linda Wolf: can Sophie Forrester: on Ana Garcia: Kind Linda Wolf: yeah. Ana Garcia: of Sophie Forrester: L_C_D_, Ana Garcia: upgradable uh Sophie Forrester: yeah. Linda Wolf: Yeah. Ana Garcia: remote control. Wow, Sophie Forrester: Okay. Ana Garcia: wow. Linda Wolf: Just they'll get few more things and Beatriz Mcelvain: Okay, Linda Wolf: few more colours. Beatriz Mcelvain: what uh there's one more decisi uh one more solution in fact, um 'cause there are some some paints that can change colour according to where they are, like they can reflect different colours Linda Wolf: Lights, yeah. Ana Garcia: Mm. Sophie Forrester: And Beatriz Mcelvain: depending Sophie Forrester: thermodynamic Beatriz Mcelvain: on what is around, Sophie Forrester: also. Beatriz Mcelvain: like Linda Wolf: Yeah. Beatriz Mcelvain: what Sophie Forrester: Mm-hmm. Beatriz Mcelvain: colour Ana Garcia: Like Beatriz Mcelvain: is Ana Garcia: a Beatriz Mcelvain: around, Ana Garcia: chameleon. Beatriz Mcelvain: and depending on the temperature, yeah. Sophie Forrester: Mm-hmm. Linda Wolf: Yeah yeah. Beatriz Mcelvain: We can make it in fact. Sophie Forrester: Yeah Linda Wolf: Mm. Sophie Forrester: but that's Beatriz Mcelvain: If Sophie Forrester: maybe Beatriz Mcelvain: if if Sophie Forrester: mo Beatriz Mcelvain: the Sophie Forrester: too much expensive, Beatriz Mcelvain: okay. Ana Garcia: Mm-hmm. Sophie Forrester: yeah. But uh it can be in uh maybe in an a gradable Beatriz Mcelvain: Mm-hmm, Sophie Forrester: version, Linda Wolf: Yeah. Beatriz Mcelvain: mm-hmm, Sophie Forrester: but Ana Garcia: Because Beatriz Mcelvain: so Ana Garcia: uh I think there are two kinds of people. Those for which the remote control is uh is to be uh something useful uh I'm going to talk about this later but and those for which is something that that that uh is uh specific to them so it it's like a signature. My remote control is pink. Nobody else than Ana Garcia has a pink remote control. Sophie Forrester: Mm-hmm. Beatriz Mcelvain: Uh-huh. Ana Garcia: And that makes Ana Garcia special. Sophie Forrester: Okay and you think that we don't have to make to make them pay more because of uh o Ana Garcia: I Sophie Forrester: or Ana Garcia: think I think Sophie Forrester: this Ana Garcia: they Sophie Forrester: is Ana Garcia: would be ready p ready to pay more for that. Sophie Forrester: Okay, so Ana Garcia: Those who wanted to have Sophie Forrester: so Ana Garcia: it pink. Sophie Forrester: i Linda Wolf: Uh Sophie Forrester: it's not uh a s base Ana Garcia: No Sophie Forrester: service Linda Wolf: Mm. Ana Garcia: mm Sophie Forrester: it's Ana Garcia: no. Beatriz Mcelvain: So, Sophie Forrester: a Beatriz Mcelvain: be an option, yeah. Sophie Forrester: Mm. Ana Garcia: It might be optional, Sophie Forrester: Okay. Ana Garcia: yeah. Linda Wolf: will be really few, no? So like we Ana Garcia: The Linda Wolf: can Ana Garcia: the young Linda Wolf: those Ana Garcia: people the young people want to be different from their friends. Linda Wolf: Ah. Ana Garcia: Although similar but have Sophie Forrester: Mm-hmm. Ana Garcia: something Linda Wolf: Yeah. Ana Garcia: just slightly better. Pink Sophie Forrester: So Linda Wolf: Mm. Sophie Forrester: m so maybe that's if that it's a selling point Ana Garcia: Mm. Sophie Forrester: maybe Beatriz Mcelvain: Yeah, Sophie Forrester: it has Ana Garcia: Yeah. Beatriz Mcelvain: yeah, Sophie Forrester: to be the base. Beatriz Mcelvain: yeah. But you know if you want to be different you just take your remote control with you all the time. And Ana Garcia: Yeah, Beatriz Mcelvain: it Sophie Forrester: And Beatriz Mcelvain: makes Sophie Forrester: you'll Beatriz Mcelvain: you different, Sophie Forrester: be Ana Garcia: yeah. Beatriz Mcelvain: you Ana Garcia: You always Beatriz Mcelvain: know? Sophie Forrester: different. Ana Garcia: have your Sophie Forrester: Uh Ana Garcia: remote. Oh, Beatriz Mcelvain: Anyone Ana Garcia: you don't? Beatriz Mcelvain: has their remote controls Ana Garcia: Yeah. Beatriz Mcelvain: here? Ana Garcia: You Sophie Forrester: in Beatriz Mcelvain: No? Sophie Forrester: the Ana Garcia: don't Sophie Forrester: train Ana Garcia: have your remo Sophie Forrester: uh, hello uh no. Want to change Ana Garcia: Wh you Sophie Forrester: my Ana Garcia: you Sophie Forrester: neighbour. Ana Garcia: know like for instance take the iPod. It's a kind of remote control. Uh it's white Beatriz Mcelvain: Mm-hmm. Ana Garcia: and it's so white that you see it from any anywhere. It Sophie Forrester: Mm. Ana Garcia: has this distinctive look and feel and look which people seems to like Beatriz Mcelvain: Okay. Ana Garcia: just because it's a colour that we don't usually see in a remote control. White. Beatriz Mcelvain: Uh-huh, Sophie Forrester: Mm-hmm. Beatriz Mcelvain: uh-huh. Could Ana Garcia: Seems Beatriz Mcelvain: we integrate Ana Garcia: important. Beatriz Mcelvain: something into our remote control, something like light? Linda Wolf: Hmm. Beatriz Mcelvain: That they can use it in darkness, like. Ana Garcia: Mm Beatriz Mcelvain: Hand Ana Garcia: glow Beatriz Mcelvain: light, Ana Garcia: in the dark, Beatriz Mcelvain: yeah. Ana Garcia: so Linda Wolf: Yeah maybe like the infrared like we can put some Beatriz Mcelvain: Mm-hmm. Linda Wolf: radium chips or something so that like at least um yeah. Sophie Forrester: Iradium? Beatriz Mcelvain: Okay. Linda Wolf: Yeah, Sophie Forrester: Ah Beatriz Mcelvain: Okay. Sophie Forrester: sorry. Linda Wolf: that Sophie Forrester: Mm. Okay. Ana Garcia: Okay. Beatriz Mcelvain: Okay. S Sophie Forrester: So mm Beatriz Mcelvain: well, let's go on maybe Ana Garcia: Yeah. Beatriz Mcelvain: with the presentation. Ana Garcia: Uh-huh, Sophie Forrester: Mm-hmm. Ana Garcia: yeah sure. Beatriz Mcelvain: And um Linda Wolf: Oh. Beatriz Mcelvain: the remote control's going to be smart but how smart should it be to not to complicate things too much? And uh I dunno that's a question to you and to mm Ana Garcia: Well so I Beatriz Mcelvain: to Ana Garcia: heard that uh it seems that speech recognition is something that can be done uh so that's the smartness of the thing. Currently Beatriz Mcelvain: Mm-hmm. Ana Garcia: we don't have guns with speech recognition or uh beer cans with speech recognition but we may have remote controls with speech recognition. Beatriz Mcelvain: Okay, Ana Garcia: I Beatriz Mcelvain: okay. Ana Garcia: dunno. Sophie Forrester: Mm, Beatriz Mcelvain: So Sophie Forrester: that's Beatriz Mcelvain: just Sophie Forrester: a nice Beatriz Mcelvain: just Sophie Forrester: world. Beatriz Mcelvain: just just think about it um. Ana Garcia: Don't touch the remote. Beatriz Mcelvain: Thank you. Sophie Forrester: Okay. Ana Garcia: But yeah. Are are you saying here that uh the remote controls should be aware of who is using it? So for instance the young guy would not be able to use it because his father doesn't want. Beatriz Mcelvain: Uh yeah Ana Garcia: Like with Beatriz Mcelvain: I just Ana Garcia: some Beatriz Mcelvain: want to say it should be real Ana Garcia: Maybe Beatriz Mcelvain: smart. Ana Garcia: fingerprint recognition or Beatriz Mcelvain: Voice recognition is quite tough. I say don't use it, and the control just looks. Ana Garcia: Mm. Linda Wolf: Yeah. Beatriz Mcelvain: 'Cause I Ana Garcia: Um Beatriz Mcelvain: ordered jus Ana Garcia: Mm. Linda Wolf: Uh Beatriz Mcelvain: To l Linda Wolf: that Beatriz Mcelvain: to l lock it. Linda Wolf: mm that could be feasible I guess, like Ana Garcia: Okay. Linda Wolf: So since we have we want to do some speaker dependent speech recognition uh so Ana Garcia: So it could Linda Wolf: we Ana Garcia: be Linda Wolf: can use yeah. Ana Garcia: smart in that Linda Wolf: Yeah, Ana Garcia: way. Linda Wolf: yeah. Sophie Forrester: Mm. Okay. Ana Garcia: But for instance th I I'm thinking about the other uh uh particularity that the the remote control could have. S since it it knows who is using it, it might also record the kind of uh channels you are u more often using and Linda Wolf: Yeah. Ana Garcia: uh levels of volumes that you're more often uh Beatriz Mcelvain: Yeah, sure. Sophie Forrester: Mm. Ana Garcia: things like that Linda Wolf: Yeah. Ana Garcia: and provide you ways of using them, I dunno, somehow, I dunno, Linda Wolf: Yeah. Ana Garcia: that might be expensive but Sophie Forrester: Mm-hmm. Linda Wolf: Uh it's Ana Garcia: that might also be a good sales pitch again. Linda Wolf: Hmm. Ana Garcia: The remote that knows you. Beatriz Mcelvain: Mm-hmm. Sophie Forrester: Okay. Beatriz Mcelvain: Okay, thanks. Sophie Forrester: So Ana Garcia: My turn? Sophie Forrester: it's yeah, Marketing Expert. Ana Garcia: Okay, it's alright. Sophie Forrester: Participant Linda Wolf: Four. Sophie Forrester: two? Four, Ana Garcia: Four, I think. Sophie Forrester: sorry. Ana Garcia: Trend, yeah. No uh yes. Okay, so I'm going to talk about trends and um I hope this can help us to to understand l how we should design our remote control. So, next slide please. So first maybe just a small recap on how how do we watch trends so it's not so uh simple you might think that it's easy but uh it's not so simple. Anyway these days uh the best uh source of information is the web as you know, so have to to go often on the web and look at uh what the others are doing, and ask real people who are using real remote controls every day uh or any other tool that is similar to a remote control which basically is a small device that people have with them, always, like a phone. We can we can use the phone as a as a good uh uh example of where to in be inspired. Of course those tha d who are watching the trends are also have also to be inspired because in fact they're not only watching the trends, they're inventing it, they're creating the trend. I hope I'm going to try to help you on that. This is more risky because you're not following the trend, you try to invent it, which means either you succeed and you make a lot of money or you don't and you're out of business. So anyway uh next slide please. Uh to be to be quick there's a lot of words here but uh basically there are uh in in the market of of remote controls there are three aspects that we should very pay much attention to. The first one, which seems to be the most important one, is that it has to be fancy, it has to have a fancy look and feel. And uh interestingly this is the very most important thing. It has to be fancy. Strangely enough it's more important to be fancy than to be wi and now that's the second thing it has to be, it has to be technologically i innovative, it has to be new with some of uh new uh technology inside and uh and this is also uh more important than the last thing which we w may think that would have been the most important, which is that it should be easy to use and it should be easy to use as a remote control. So as you see uh it first have to be very nice, s something that people are proud of uh uh that i uh they can be Linda Wolf identified with uh and and then uh something that um contains very novel stuff that they can talk about with their friends, huh, mine has this and not yours. And finally of course it has to be useful as a remote control but it seems that it's not so important that it's useful as a remote control. Next slide please. Sophie Forrester: Mm. Ana Garcia: Uh and now in a more uh general uh uh broad way of seeing th uh the thing. If we look back and not uh look at only remote controls I think it's important to see that the trends are quite the same in many areas so currently the the trends that we see in l in l big cities like Paris and Milan, well, it seems that this year things should have uh a fruit and vegetable uh way of of look or feel or so. And I think of course uh i it applies to everything. That's the thing with trends. It it can travel f from clothe to furniture same idea. Fruit and vegetable. Think fruit and vegetable. And uh if we co we compare to last year, now it has to be spongy, Linda Wolf: Mm. Beatriz Mcelvain: What is Ana Garcia: yeah. Beatriz Mcelvain: spongy? Ana Garcia: Well this Linda Wolf: Yeah kind of Ana Garcia: so Linda Wolf: um maybe Ana Garcia: so I think uh uh i When we were talking about rubber, I think Linda Wolf: Yeah Ana Garcia: uh Linda Wolf: it Ana Garcia: the rubber aspect might be important because it's what is Sophie Forrester: Mm-hmm. Ana Garcia: probably Linda Wolf: Yeah. Ana Garcia: more feasible Sophie Forrester: S Ana Garcia: in terms of sponginess. Linda Wolf: Yeah. Sophie Forrester: So maybe titanium it's not a good idea. Ana Garcia: Seems not, seems not. Linda Wolf: We need to think about mm Sophie Forrester: Mm-hmm. Linda Wolf: mm. Ana Garcia: Yeah. So Sophie Forrester: Um sorry Mark. It seems Ana Garcia: Think Sophie Forrester: to Ana Garcia: more Sophie Forrester: be Ana Garcia: of uh something in the colours of uh like fruit Linda Wolf: Fruit. Ana Garcia: and vegetables and spongy, Linda Wolf: Even Ana Garcia: as a Linda Wolf: shape? Ana Garcia: even in the shape it has to be more round and uh Linda Wolf: More Ana Garcia: more uh Sophie Forrester: Mm-mm. Linda Wolf: yeah. Ana Garcia: uh look natural Linda Wolf: Yeah. Ana Garcia: somehow. I mean And not those futuristic uh remote control with angles and uh Sophie Forrester: Mm-hmm. Ana Garcia: and titanium like. Linda Wolf: Mm. Ana Garcia: So that's Sophie Forrester: Hmm. Ana Garcia: what people seem to yeah i I know Sophie Forrester: You're Ana Garcia: it's Sophie Forrester: old-fashioned. Ana Garcia: quite Sophie Forrester: Sorry. Ana Garcia: far from what you thought but that's that's fashion and Beatriz Mcelvain: Okay. Sophie Forrester: Okay. Ana Garcia: Okay that's all I have to say. Sophie Forrester: Mm you have questions? Linda Wolf: So these abilities are mainly ad addressed by young people? Or it's Ana Garcia: These I'm sorry. Linda Wolf: This you you so did Ana Garcia: Yeah, Linda Wolf: you Ana Garcia: yeah we have people uh uh listening Linda Wolf: Where? Ana Garcia: to the trends everywhere in Linda Wolf: Oh. Ana Garcia: the world, of course, Linda Wolf: Oh, okay, Ana Garcia: as you know our company is quite big Linda Wolf: mm-hmm. Ana Garcia: and uh so I'm Linda Wolf: It's Ana Garcia: just Linda Wolf: not from Ana Garcia: asking them Linda Wolf: mm. Ana Garcia: what are the current trends Linda Wolf: Mm-hmm. Ana Garcia: according to them when they go in the stores and Linda Wolf: Yeah. Ana Garcia: when they ask uh their uh friends that are Linda Wolf: Yeah. Ana Garcia: also Linda Wolf: It's more general Ana Garcia: well. Linda Wolf: trend it's not particular to the remote Ana Garcia: No, Linda Wolf: control. Ana Garcia: it's not it's not this this is very general, yeah. But it seems that trends travel Linda Wolf: Mm. Ana Garcia: across things. Linda Wolf: Yeah. Ana Garcia: The what we Linda Wolf: Yeah but some materials n they're to be uh they're to be something like solid like they can't be really Ana Garcia: Sure. Linda Wolf: spongy or Ana Garcia: Yeah. We Linda Wolf: yeah Ana Garcia: have to I Linda Wolf: yeah. Ana Garcia: think we have to have the look of Linda Wolf: yeah, Ana Garcia: fruit Linda Wolf: yeah Ana Garcia: and vegetables Linda Wolf: sponge, yeah yeah at least Ana Garcia: but Linda Wolf: that's Ana Garcia: we still have to put our chips inside, so Linda Wolf: Yeah yeah Ana Garcia: of course. This is your problem. Linda Wolf: that yeah Ana Garcia: This is not mine. Linda Wolf: yeah. Yeah. Yeah, looking yeah fruit. These things can be easily incorporated. We can Ana Garcia: Yeah, Linda Wolf: have Ana Garcia: I think in Linda Wolf: t Ana Garcia: the Linda Wolf: colours Ana Garcia: colours and Linda Wolf: or Ana Garcia: in the uh the kind of Linda Wolf: this Ana Garcia: material. Linda Wolf: shape or at least Ana Garcia: If Linda Wolf: yeah. Ana Garcia: if it's something like rubber made or Linda Wolf: Yeah. Ana Garcia: I think it it's Sophie Forrester: Mm. Ana Garcia: also going to be good. Linda Wolf: Mm. Sophie Forrester: Mm-hmm. Ana Garcia: Okay? Linda Wolf: Yeah. Sophie Forrester: Okay. No more question? Okay. Ana Garcia: Yep. Thanks. Sophie Forrester: So Mm-hmm. Okay, so we will have uh next meeting in thirty minutes again. Um now you have to go straight on this individual action which i which are for Rama uh Linda Wolf: Look Sophie Forrester: wil Linda Wolf: and feel de Sophie Forrester: design, um Mark the user interface design, and uh Sammy uh the product evaluation. Ana Garcia: Mm-hmm. Sophie Forrester: Uh you will work together uh Linda Wolf: Hmm. Sophie Forrester: on a new on on a prototype using modelling clay. Linda Wolf: Hmm. Mm sounds interesting. Sophie Forrester: Mm-hmm um and I as always your personal coach will send you specific instruction. Ana Garcia: Okay. Beatriz Mcelvain: Okay. Ana Garcia: Thanks. Linda Wolf: So, can we highlight the specific features of our Sophie Forrester: Yeah you're right, you have Linda Wolf: yeah, Sophie Forrester: to Linda Wolf: so so we want the speech recogniser and we want some kind of buttons and we want some themes like fruits or vegetables, that's Sophie Forrester: So Linda Wolf: we Sophie Forrester: you Linda Wolf: want Sophie Forrester: say Linda Wolf: to follow Sophie Forrester: s Linda Wolf: general trend. Ana Garcia: Spongy. Sophie Forrester: S Linda Wolf: Yeah. Sophie Forrester: do we agree on that? Yeah. We have to. Linda Wolf: So, do you think Beatriz Mcelvain: So we have to uh for Ana Garcia: No, we don't have to, Sophie Forrester: No. Ana Garcia: but seems it's Linda Wolf: Hmm. Ana Garcia: the trend. Again, Linda Wolf: Yeah. Ana Garcia: as I said we can also try to make it, Beatriz Mcelvain: yeah Ana Garcia: to Beatriz Mcelvain: so Ana Garcia: create the trend. So there's Linda Wolf: Yeah. Ana Garcia: no Beatriz Mcelvain: are we confident enough on creating trends? Ana Garcia: Well, that's you t can try to convince us. Beatriz Mcelvain: Well, we can make it smell like fruit. Ana Garcia: Okay. Sophie Forrester: Okay, that's a good idea. Linda Wolf: That's Ana Garcia: that's Sophie Forrester: So Ana Garcia: a Sophie Forrester: titanium Ana Garcia: good idea, Sophie Forrester: smell like fruit. Ana Garcia: I Beatriz Mcelvain: Yeah. Sophie Forrester: Mm-hmm. Linda Wolf: So what about location and these things, people are really interesting on those features? Or they really like Ana Garcia: Uh Linda Wolf: They more want these fancy Ana Garcia: I think i Linda Wolf: features Ana Garcia: yeah Linda Wolf: like Ana Garcia: i it's again in this uh what I said first it has to be fancy so I think if nobody else pro Sophie Forrester: Mm-hmm. Ana Garcia: provides currently a remote control with that kind of stuff Linda Wolf: Feature Ana Garcia: and if we can provide it I think it's a good sell for Linda Wolf: Yeah. Ana Garcia: us because we have Linda Wolf: Yeah. Ana Garcia: it and others don't. Sophie Forrester: Okay. Ana Garcia: It's fancy. Whether it's useful or not doesn't seem to be very important. Linda Wolf: Yeah. Sophie Forrester: I I agree Linda Wolf: Yeah. Sophie Forrester: with uh this uh Now we have to decide on what kind of fanciness. Do we take titanium smelling like fruit, or do we make spongy uh Linda Wolf: Yeah. Sophie Forrester: fruity-like Linda Wolf: Uh we will try to explore these two options Ana Garcia: Maybe you Linda Wolf: and Ana Garcia: could Sophie Forrester: Mm. Ana Garcia: explore the Linda Wolf: yeah Ana Garcia: two option. Sophie Forrester: Yeah, Linda Wolf: yeah. Sophie Forrester: yeah. Beatriz Mcelvain: Mm-hmm, mm-hmm. Could we make a titanium shape? Linda Wolf: Uh Beatriz Mcelvain: I mean Linda Wolf: yeah at least like we can make Beatriz Mcelvain: fruit-shaped. Linda Wolf: banana or Sophie Forrester: Don't Beatriz Mcelvain: But Sophie Forrester: you say that you cannot do double shape uh Linda Wolf: yeah Beatriz Mcelvain: Doub Ana Garcia: Mm. Linda Wolf: it's Beatriz Mcelvain: double-curved. Sophie Forrester: curved Linda Wolf: it's Sophie Forrester: shape Ana Garcia: Seems to Linda Wolf: yeah Sophie Forrester: yeah. Linda Wolf: that's Ana Garcia: be. Linda Wolf: a we're to look for Sophie Forrester: Mm-hmm. Okay. Linda Wolf: and and Beatriz Mcelvain: Okay, okay. Linda Wolf: s we're to see the whether rubber is expensive and Beatriz Mcelvain: In Linda Wolf: d Beatriz Mcelvain: fact I just agreed to make uh to make the like titanium panels on a whole rubber body. Linda Wolf: Hmm. Beatriz Mcelvain: Well, okay Sophie Forrester: Mm-mm. Beatriz Mcelvain: w we'll Sophie Forrester: Okay, Beatriz Mcelvain: see. Sophie Forrester: so you explore now that you're going to work together Beatriz Mcelvain: Yeah Linda Wolf: Mm. Sophie Forrester: these these two. Or or spongy an Linda Wolf: Yeah. Sophie Forrester: yeah. Linda Wolf: Maybe we can have two different assembly also like one spongy and one kind of titanium. Sophie Forrester: Mm. Linda Wolf: we have only the plastic or the Beatriz Mcelvain: We'll see. Ana Garcia: If Linda Wolf: the Ana Garcia: you have Linda Wolf: chippy Ana Garcia: time. Beatriz Mcelvain: We'll see. Linda Wolf: yeah Sophie Forrester: Mm. Linda Wolf: fibre chips or Sophie Forrester: Yeah I don't think w I think we have to choose. If we choose Linda Wolf: Uh. Sophie Forrester: uh titanium or if we choose spongy but uh it Beatriz Mcelvain: We'll see. Sophie Forrester: cannot be Beatriz Mcelvain: I Sophie Forrester: both. Beatriz Mcelvain: I really don't like this modelling clay Linda Wolf: Yeah. Beatriz Mcelvain: 'cause you know it makes some for for I dunno Ana Garcia: For creation. Beatriz Mcelvain: uh yeah Linda Wolf: Yeah. Beatriz Mcelvain: um we'll look. Linda Wolf: Yeah. Sophie Forrester: Ah you can pretend Linda Wolf: Even Sophie Forrester: that Linda Wolf: design. Sophie Forrester: it's uh titanium. Ana Garcia: You can paint it afterward. Beatriz Mcelvain: Okay, Ana Garcia: No problem. We have a very large department Beatriz Mcelvain: okay. Ana Garcia: of paint. Sophie Forrester: Yeah, do don't worry, you you Ana Garcia: You will do it. Sophie Forrester: you speak with Beatriz Mcelvain: Alright, alright. Sophie Forrester: mm mm. Okay. So explore a shape. Linda Wolf: So still we want to keep L_C_D_? Or Sophie Forrester: Mm I think it's what Ana Garcia: Yeah. Sophie Forrester: we say, that we have an uh an L_C_D_ with uh information. Linda Wolf: Okay. Sophie Forrester: Not Ana Garcia: The thing is Sophie Forrester: uh Ana Garcia: that uh if we want to have as he says if we want to have uh a small number of buttons Linda Wolf: Yeah, then we Ana Garcia: we Linda Wolf: can Ana Garcia: need to have a kind of output that Sophie Forrester: Mm-hmm. Ana Garcia: says currently what their Linda Wolf: yeah, Ana Garcia: actions are. Linda Wolf: yeah, that user friendly or Ana Garcia: Yeah. Sophie Forrester: Mm. Ana Garcia: That's Linda Wolf: Mm. Ana Garcia: the converse to having zillions Linda Wolf: Yeah. Ana Garcia: of button where each button does only Sophie Forrester: Mm. Ana Garcia: one thing. Linda Wolf: Yeah. Sophie Forrester: Okay. Linda Wolf: and we just stick with two batteries so it's not any solar Ana Garcia: Yeah. Linda Wolf: or Ana Garcia: Classical, Linda Wolf: yeah Ana Garcia: we stay Sophie Forrester: Yeah, Ana Garcia: classical Linda Wolf: yeah Sophie Forrester: yeah, Linda Wolf: j Ana Garcia: in that Sophie Forrester: yeah. Linda Wolf: yeah, because Ana Garcia: we don't reinvent uh Sophie Forrester: Mm. Linda Wolf: Yeah. Ana Garcia: the wheel. Anyway it's very in general I think people uh change T_V_ more often than batteries of their remote control. So. Sophie Forrester: Yeah. Ana Garcia: Because the trend goes faster than the life of the Sophie Forrester: Mm-hmm. Beatriz Mcelvain: Mm-hmm. Ana Garcia: So it's very Sophie Forrester: Okay. Ana Garcia: Okay. Sophie Forrester: So Linda Wolf: Yeah. Sophie Forrester: are we Beatriz Mcelvain: Yeah. Ana Garcia: We're done. Linda Wolf: Yeah, Sophie Forrester: mm. Linda Wolf: we're done. Sophie Forrester: Okay. So see you in thirty minutes. Linda Wolf: Yep.

Sophie Forrester stated the agenda and set the goals for the current meeting. Linda Wolf discussed different options for batteries, case materials and shapes, chips, and interface components and also discussed the components necessary for a speech recognition capable remote control. Beatriz Mcelvain presented his concept for the interface design which he called the "millennium remote control". Beatriz Mcelvain also discussed with the team color options and how to make a "smart" remote which is in tune with the user's preferences. Ana Garcia discussed current findings from trend watching reports which indicated that there is a desire for products to have a fancy look and feel, be technologically innovative, be easy to use, incorporate a fruit and vegetable theme, and be spongy. Sophie Forrester gave the team members their assignments and then the team went over the decisions they had made and discussed whether to use titanium or rubber in their design.

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

amisum

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Marjorie Gibson: Hmm. Gertrude Havener: Good morning everybody. Rochelle Hilbert: Good morning. Helen Torres: Good morning. Marjorie Gibson: Good morning. Gertrude Havener: So we are asked to to make uh uh a new remote control for television. And the characteristics of this new remote control should be original and trendy and of course user user friendly. So people can can use it without any any problem. Gertrude Havener: I don't know. Rochelle Hilbert: Well I, think we should set the the points to to drive the project and uh Marjorie Gibson: B did you send us an email about this? Gertrude Havener: Uh, not yet, but Marjorie Gibson: Yeah, Gertrude Havener: if you Marjorie Gibson: we Gertrude Havener: want Marjorie Gibson: we received an email about this uh d designs. Gertrude Havener: Do you want do you want Helen Torres to send you a mail? Marjorie Gibson: Ah it's Gertrude Havener: Or Marjorie Gibson: Okay. Helen Torres: Or you can put it in the shared folder. Marjorie Gibson: Yeah, you see the email? You email. The v very no, no the Helen Torres: No, I didn't get it. Marjorie Gibson: first one. It's inside. Gertrude Havener: Uh Helen Torres: This one. Marjorie Gibson: No, Helen Torres: No. Marjorie Gibson: no. The third one. Oh, you didn't get anything. Helen Torres: No, Marjorie Gibson: It's strange. Mm. got an email about the dis about the discussion Yeah. Gertrude Havener: You get email, Marjorie Gibson: I dunno from who. Rochelle Hilbert: Yeah, from the account manager. Marjorie Gibson: From the account manager. You have received the same email, right? Rochelle Hilbert: Yeah. Marjorie Gibson: Yeah. Helen Torres: I think it's for your guys to how to design it all the aspects so you need Marjorie Gibson: Yeah. Helen Torres: that information. Rochelle Hilbert: Yeah, I think so. Marjorie Gibson: Yeah, so each of us has a role to do. Helen Torres: Yeah Gertrude Havener: S Helen Torres: I think Marjorie Gibson: In each Helen Torres: assign your uh roles. Marjorie Gibson: We already have Gertrude Havener: each Marjorie Gibson: our role. Gertrude Havener: for each Helen Torres: For Gertrude Havener: one. Helen Torres: each person, yeah. Marjorie Gibson: 'Kay, we can Gertrude Havener: So there are so we Marjorie Gibson: So Gertrude Havener: have Marjorie Gibson: there Gertrude Havener: three Marjorie Gibson: are three kinds of designs, Gertrude Havener: f yeah. Marjorie Gibson: that's Gertrude Havener: We have Marjorie Gibson: all. Gertrude Havener: functional design, conceptual design, and Marjorie Gibson: Okay, Gertrude Havener: detail design. Marjorie Gibson: alright. Gertrude Havener: So, who will be the the responsible for the functional design? Any any volunteer? Rochelle Hilbert: I think our uh responsibilities will be assigned when we in our mail we received Marjorie Gibson: Yeah, Rochelle Hilbert: from the account manager. Marjorie Gibson: yeah. Rochelle Hilbert: Uh Marjorie Gibson: I'm doing the interface. Gertrude Havener: You are doing th. Rochelle Hilbert: No, I'm doing the interface. Marjorie Gibson: Are you using the you are doing Rochelle Hilbert: Yeah Marjorie Gibson: the in Rochelle Hilbert: I I'm I'm Well, maybe we have okay so I industrial design. Marjorie Gibson: Ah Rochelle Hilbert: but it's alright. Marjorie Gibson: Okay. Gertrude Havener: Okay, I'll for industrial design. Rochelle Hilbert: Yeah. Gertrude Havener: Okay. And and you Norman? Marjorie Gibson: Mm? Um working on i. Rochelle Hilbert: User. Marjorie Gibson: User interface. Gertrude Havener: And Gertrude Havener: And Helen Torres: Uh, I'm into marketing. Gertrude Havener: doing the marketing. Helen Torres: yeah nothing much in the project. Gertrude Havener: Nothing related here to the Helen Torres: Marketing in this design. A design Marjorie Gibson: Yes. Helen Torres: is basically for industrial design and the user interface. Marjorie Gibson: You see the second mail? Yeah, it's inside. Go down. Appendix. Helen Torres: this is. Marjorie Gibson: See there's a role for everybody. Helen Torres: Yeah, that's right, first. Marjorie Gibson: Even for the marketing. Helen Torres: us user define. Gertrude Havener: Next. Marjorie Gibson: But look at your role, your marketing role. Helen Torres: There's a trend watching. Gertrude Havener: I don't Marjorie Gibson: Yeah, Gertrude Havener: know. Marjorie Gibson: that's your role. Gertrude Havener: I. Rochelle Hilbert: Well, I think we can have a little discussion about what has to be done and what are your ideas Gertrude Havener: About the Rochelle Hilbert: about Gertrude Havener: design Rochelle Hilbert: the Gertrude Havener: or Maybe we'll discuss this later, no? Rochelle Hilbert: Well, w we want to have a new re remote control for for T_V_ distribution I guess. Gertrude Havener: Mm-hmm. Rochelle Hilbert: So we have to plan how how it would Helen Torres: Yeah. Rochelle Hilbert: be Marjorie Gibson: Mm. Rochelle Hilbert: developed and uh how we can make it work. Marjorie Gibson: Yes. Helen Torres: I mean working remotes we already have. This will be something different from the other remotes remote controls. Rochelle Hilbert: Yeah, Gertrude Havener: What Rochelle Hilbert: I Gertrude Havener: we Rochelle Hilbert: dunno I Gertrude Havener: we have to keep in mind the these characteristics. And of course it should not be very costly. Helen Torres: Yeah, that's right. Gertrude Havener: So Rochelle Hilbert: Yeah. Marjorie Gibson: Mm-hmm. Rochelle Hilbert: Well I I think that Norman and I would think about um the technical points and um we should discuss it in the next meeting, or Marjorie Gibson: Need to collect information. Rochelle Hilbert: Yeah. Gertrude Havener: About the about what? Marjorie Gibson: Um. I I'm part of design, perhaps. Uh, what is most important in a in a remote control? What is the most important function aspect? Uh. Gertrude Havener: You mean the external or Rochelle Hilbert: Well, you have to make it work. That's Gertrude Havener: Yeah of g of Marjorie Gibson: That's Gertrude Havener: course. Marjorie Gibson: alright. Rochelle Hilbert: the that's the big Marjorie Gibson: Yeah, Rochelle Hilbert: thing. Marjorie Gibson: it should be easy to work with. Rochelle Hilbert: Yeah. Gertrude Havener: Yeah. Marjorie Gibson: Yeah. Rochelle Hilbert: We can think about an interface with uh well Marjorie Gibson: Uh. We maybe you can have a speech uh recognition interface. You just tell the television I want which channel. Or Gertrude Havener: You won't Marjorie Gibson: or you can say for example, um I want uh to list all the programme tonight. Y you know, instead of uh remote control it's doing the some searching for you, so you don't have to look for the channel you want. Just say maybe I just want to press I wanna have a button for all the movies tonight. Or a button for all the magazines, all the information documentary tonight. And then you list a few, and I will choose from the list. So instead of pressing the channel number, I am choosing the programmes directly. Rochelle Hilbert: Yeah, Marjorie Gibson: Yeah, Rochelle Hilbert: yeah. Marjorie Gibson: that's one way of uh making it useful. Gertrude Havener: I I think if we include a lot of technology on the remote Marjorie Gibson: No, Gertrude Havener: control Marjorie Gibson: because Gertrude Havener: it will be very costly. Marjorie Gibson: no, it's not very Gertrude Havener: S Marjorie Gibson: a lot. Th this information exists. For example you can get um Gertrude Havener: Like s uh you you you say we can use speech. Marjorie Gibson: You can use uh well for example anything. The the idea of using speech to reduce the button, but uh and it's Rochelle Hilbert: I Marjorie Gibson: more natural. Rochelle Hilbert: I think if you want Marjorie Gibson: Yeah. Rochelle Hilbert: t to choose uh from a list Helen Torres: I'm a Rochelle Hilbert: of programme Helen Torres: okay. Rochelle Hilbert: or or Marjorie Gibson: Yeah. Rochelle Hilbert: something like that Marjorie Gibson: Yeah. Rochelle Hilbert: you you may have to to use uh w uh I dunno Helen Torres: I mean the main uh function of remote control is to have something in the hand and Gertrude Havener: In the Helen Torres: we Gertrude Havener: hand. Helen Torres: should be very careful about the size of the remote control. Gertrude Havener: Yeah. Marjorie Gibson: Yeah. Rochelle Hilbert: Yeah. Helen Torres: If we are going to add a speech interface, Marjorie Gibson: Yeah. Helen Torres: I'm not sure with trendy slim size of the remote control Marjorie Gibson: Yes, Helen Torres: it would be Marjorie Gibson: possible. Helen Torres: able to put a speech recog if you want to put a speech recognition system f interface for that I think the T_V_ itself could have it. Marjorie Gibson: Yeah. Rochelle Hilbert: Yeah. Marjorie Gibson: But Helen Torres: And I could talk to the T_V_ television itself. Gertrude Havener: Except Helen Torres: I need Gertrude Havener: if Helen Torres: not have Gertrude Havener: if Helen Torres: an Gertrude Havener: you are far from the T_V_. Marjorie Gibson: Yeah. Helen Torres: I mean we have Gertrude Havener: This Helen Torres: some or something, Gertrude Havener: is Marjorie Gibson: Yeah, Helen Torres: different technology Marjorie Gibson: yeah. Helen Torres: but Marjorie Gibson: But Gertrude Havener: it's Marjorie Gibson: th the main idea I wanted to s I wanted to say is that um there should be a function, instead of choosing the ch T_V_ channel, there's a option you can choose, either T_V_ channels or or Rochelle Hilbert: On the content. Marjorie Gibson: pr or the or the contain Helen Torres: Mm-hmm, Marjorie Gibson: or the Helen Torres: yeah. Marjorie Gibson: contents of the programme. Rochelle Hilbert: Yeah, yeah Marjorie Gibson: So it's Rochelle Hilbert: it's Gertrude Havener: Mm-hmm. Marjorie Gibson: more Rochelle Hilbert: it's Marjorie Gibson: powerful. Rochelle Hilbert: a good idea it's a good idea but Marjorie Gibson: Yeah. Rochelle Hilbert: I I think that technically it would be um a little bit uh Marjorie Gibson: No. Rochelle Hilbert: uh more tricky to to achieve this than Marjorie Gibson: No, because Rochelle Hilbert: just Marjorie Gibson: you see Rochelle Hilbert: to Marjorie Gibson: now all the T_V_ programmes are available on the webs. They they are they are they are available in X_M_L_ format or whatever the format. We don't care. We just say that this are some content. We just want to retrieve the content and then classi sort them by the types of programmes. Some Rochelle Hilbert: Yeah Marjorie Gibson: of Rochelle Hilbert: yeah. Marjorie Gibson: the websites they already provide this service, so we can just use the service available. Download it uh to the to this remote control. And then there's Gertrude Havener: Mm. Marjorie Gibson: there are only six buttons for six categories, or sev seven. The most there are only seven buttons. So I just choose the category one and you reuse the same button, for example to to choose among the the sorted list the programme you want, so you don't have to choose among hundred channels, if you have hundred channels, you just have six buttons, seven buttons. Gertrude Havener: Yeah we should also optimise the the number of Rochelle Hilbert: Well Marjorie Gibson: Yeah, Rochelle Hilbert: I Gertrude Havener: buttons. Rochelle Hilbert: I I I Marjorie Gibson: yeah. Rochelle Hilbert: think that j Gertrude Havener: This is Rochelle Hilbert: just Gertrude Havener: good Rochelle Hilbert: by Gertrude Havener: idea. Rochelle Hilbert: using navigation buttons and the user interface on the screen Marjorie Gibson: Yeah. Rochelle Hilbert: we are able to uh navigate uh through the Marjorie Gibson: Ah, yes. So. Rochelle Hilbert: Well channel programme or contents or Marjorie Gibson: Yeah. Rochelle Hilbert: in an easy way, Marjorie Gibson: Yeah, so you don't Rochelle Hilbert: so Marjorie Gibson: have to display here, just display on the T_V_ screen, Rochelle Hilbert: Yeah Marjorie Gibson: right? Rochelle Hilbert: in Marjorie Gibson: Good Rochelle Hilbert: the dis Marjorie Gibson: idea. Rochelle Hilbert: display on the T_V_ screen and just Marjorie Gibson: Okay. Rochelle Hilbert: uh with the with your remote control would just navigate through the f Marjorie Gibson: I think I think that will be revol revolutionary. Because all the T_V_ uh the the remote control have all numbers, lots of buttons and then you dunno what to choose in the end. Rochelle Hilbert: Yeah, yeah. Marjorie Gibson: Yeah. Rochelle Hilbert: So Marjorie Gibson: Alright. Rochelle Hilbert: I think for for the technical points we have to to to check how to gather the data from programme or contents and all this Marjorie Gibson: Okay. Rochelle Hilbert: stuff Gertrude Havener: So we have five minutes to Marjorie Gibson: Ah w w we have sometimes to use the white-board. Gertrude Havener: Ah you can y you can you Marjorie Gibson: Five Gertrude Havener: can Marjorie Gibson: minutes. Gertrude Havener: use it if you Helen Torres: And Gertrude Havener: so, Helen Torres: another interesting Gertrude Havener: can we Helen Torres: idea for this would be to have an light adaptation system depending Marjorie Gibson: Okay. Helen Torres: upon the picture of Marjorie Gibson: Okay. Helen Torres: So, I mean, if you're watching a movie and suddenly there is a dark uh Marjorie Gibson: Yeah. Helen Torres: some dark scene, the Marjorie Gibson: Yeah. Helen Torres: lights Gertrude Havener: S Helen Torres: adapt themself. The lighting in the room changes. Marjorie Gibson: Yeah, but we are designing Gertrude Havener: You it. Marjorie Gibson: just remote control. Helen Torres: I mean, we have a option in the remote control. If we want to have that option, you Marjorie Gibson: Okay. Helen Torres: press that button Rochelle Hilbert: Oh Helen Torres: in the remote. Rochelle Hilbert: right Marjorie Gibson: Okay, Rochelle Hilbert: so Marjorie Gibson: do you want to have a conceptual remote control there, or you just want to put the function Gertrude Havener: Yeah. Marjorie Gibson: in? Gertrude Havener: If if you you you can if you want you can Rochelle Hilbert: Please, Gertrude Havener: use Rochelle Hilbert: Norman, draw Gertrude Havener: th Rochelle Hilbert: uh Gertrude Havener: the. Marjorie Gibson: Go on, draw something. Helen Torres: Oh, Marjorie Gibson: Mm. Helen Torres: I'm afraid you forgot to put your lapel. Marjorie Gibson: Where is it? Helen Torres: The lapel. Gertrude Havener: Or before Marjorie Gibson: Ah, okay. Gertrude Havener: the before the the design that says. Marjorie Gibson: Where where is it? Here. Helen Torres: Yeah, that one. Just plug Gertrude Havener: Norman. Helen Torres: it. Yeah, that's Marjorie Gibson: Mm. Helen Torres: right. Gertrude Havener: Be before before writing you can uh Marjorie Gibson: Mm. Gertrude Havener: sit and that says what we what we said then after that you can Marjorie Gibson: Okay, alright. Gertrude Havener: you can use the. Marjorie Gibson: So Gertrude Havener: Yeah. Marjorie Gibson: so the most functional des mm the most important function is to ch choo buttons to choose the content. Right? Rochelle Hilbert: Okay. Marjorie Gibson: Uh, Gertrude Havener: Okay. Marjorie Gibson: uh first one is to uh buttons i or it could be anything with Gertrude Havener: Yeah. Marjorie Gibson: buttons. Uh to choose uh content s or channels. So we have both. The user can choose w which one they want, Rochelle Hilbert: Yeah, Marjorie Gibson: right? Rochelle Hilbert: by content or by channel, it's Marjorie Gibson: By Rochelle Hilbert: a good Marjorie Gibson: content Rochelle Hilbert: idea. Marjorie Gibson: or by channel. Choose by contents or by channels. So And then what did we say just now? Other than this. Rochelle Hilbert: And Gertrude Havener: Mm. Rochelle Hilbert: uh we we have to find a way how to gather information about the contents. Marjorie Gibson: Okay, so technically how the problems that how to do it is to how to get the content. Rochelle Hilbert: Yeah. Marjorie Gibson: Challenge. Rochelle Hilbert: I think i it's not very difficult to to browse by channel but it's a little bit tricky to browse by contents so Marjorie Gibson: Okay. Content. Okay, so these we have to work it out. So this one of the problem. And uh Rochelle Hilbert: I think that's the the Marjorie Gibson: The main Rochelle Hilbert: things Marjorie Gibson: thing. Rochelle Hilbert: to do and uh to Marjorie Gibson: Okay. Rochelle Hilbert: uh Marjorie Gibson: Alright. Rochelle Hilbert: reflect about it and uh Marjorie Gibson: Alright, okay. So Rochelle Hilbert: discuss Marjorie Gibson: we are Rochelle Hilbert: it Marjorie Gibson: we'll Rochelle Hilbert: in the next meeting. Marjorie Gibson: discuss it we will get some information in the next meeting, so for now we get uh the funct this is the functional designer? That's the first aspect. Right. We will get information and then we'll come back in. Rochelle Hilbert: Okay. Thank you everybody. Gertrude Havener: Okay. Marjorie Gibson: Yeah, we'll come. Gertrude Havener: So maybe we'll meet in maybe five minutes? And Marjorie Gibson: Alright. Gertrude Havener: we'll discuss the other Marjorie Gibson: Alright, okay. Gertrude Havener: other aspects. Rochelle Hilbert: Okay. Marjorie Gibson: Thank you, Gertrude Havener: Okay. Marjorie Gibson: mis Gertrude Havener: Well thank you all.

Gertrude Havener introduced the project to the group. The group set an agenda for the meeting and discussed the materials sent to them by the Account Manager. They discussed and explained their roles in the project. The group began a discussion about their initial ideas for the product. They discussed several usability features: adding speech recognition and an option to choose what to watch by channel or by content, reducing the number of buttons by using the television screen to display options, and adding a light adaptation system. All participants were instructed to gather more information for the next meeting, the functional design meeting.

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Jeanette Boggioni: 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 Jami Dunn: Okay Jeanette Boggioni: will talk about Jami Dunn: so Jeanette Boggioni: some Jami Dunn: I think I Jeanette Boggioni: specific Jami Dunn: will Jeanette Boggioni: details. Jami Dunn: do my presentation on the components concept so can you please uh open uh I'm participant two. Components Jeanette Boggioni: This Jami Dunn: 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. Jeanette Boggioni: Uh Jami Dunn: Now Jeanette Boggioni: this is what we have decided in the last meeting. But if we use battery Jami Dunn: 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 Betty Garver: Mm. Jami Dunn: 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 Betty Garver: Mm. Jami Dunn: 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. Betty Garver: Mm. Jami Dunn: And s so uh we can move to the next slide. Betty Garver: Sorry. Jami Dunn: Yeah. Betty Garver: What is this single curved what does it mean? Jami Dunn: Well uh uh i i it's uh it's the the shape of the um Betty Garver: So it's Jami Dunn: of Betty Garver: it's Jami Dunn: the Betty Garver: not Jami Dunn: remote. You you will have the well um the the curve will fit into Betty Garver: Yo Jami Dunn: your Betty Garver: l Jami Dunn: hand when you Betty Garver: yeah. When Jami Dunn: grab Betty Garver: you hold Jami Dunn: the Betty Garver: on it, it is comfortable to hold. Jami Dunn: Yeah. It's more confog f comfortable that if these Betty Garver: Okay. Jami Dunn: uh it's completely flat. Betty Garver: Yeah. And the battery, is it kind of a rechargeable or it doesn't matter? Jami Dunn: Yeah the um that's the point. The kinetic one is uh y you can recharge uh by the um Betty Garver: That that's what it means by Jami Dunn: Yeah and Betty Garver: kinetic. Jami Dunn: by well by just by moving the ar uh Betty Garver: Okay. Jami Dunn: your arm the Betty Garver: Mm-hmm. Jami Dunn: mm well the remote will uh accumulate energy. Betty Garver: Okay. Jami Dunn: But I d I don't know it's if it is feasible because I don't know if yet if Betty Garver: Mm. Jami Dunn: if the user will move enough Betty Garver: Mm. Jami Dunn: to provide Betty Garver: Okay. Jami Dunn: the remote um Betty Garver: Yeah. Jami Dunn: all the necessary energy. Betty Garver: Yeah. We we might check with our R_ and D_ department to see if they this product Jami Dunn: Yeah. Betty Garver: ready Jami Dunn: And Betty Garver: for market. Jami Dunn: yeah and so can you go to the next slide please. So and uh that's uh that summarize well what I have said. Betty Garver: Mm mm. Jami Dunn: So Betty Garver: Wha Jami Dunn: uh you're right we can uh see in our uh R_ and D_ uh Betty Garver: Ah the department. Jami Dunn: if the kinetic metal is sufficient Betty Garver: Mm. Jami Dunn: to provide enough energy. That's it. Betty Garver: Uh Betty Garver: So I um keep in touch with the R_ and D_ department. Jami Dunn: Oh yeah I take care, it's all right. Betty Garver: So the titanium case is the normal case that I'll show you some pictures that I have and you tell Linda Mccrea whether they are titanium case or not. Jami Dunn: All Betty Garver: 'Cause I am Jami Dunn: right. Betty Garver: not very sure, Jami Dunn: Yeah. Betty Garver: 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 Jeanette Boggioni: We will, okay. Jeanette Boggioni: Three. Betty Garver: 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. Jeanette Boggioni: What's the function of this Betty Garver: Yeah. Jeanette Boggioni: button. Betty Garver: Yeah. So. Jeanette Boggioni: I think it makes the the interface really Betty Garver: Ea easy to use. So next one. Jeanette Boggioni: Graphical user Betty Garver: function Jeanette Boggioni: interface. Betty Garver: five. So I can use the button, the mouse maybe. Jeanette Boggioni: use of pictures. Betty Garver: 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. Jami Dunn: Yeah. Betty Garver: 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. Jami Dunn: Mm-hmm Betty Garver: So Jami Dunn: mm Betty Garver: I just Jami Dunn: mm. Betty Garver: got an email saying that. And it seems like this voice recognition technology is ready to be used so we might consider that, Jami Dunn: Yeah Betty Garver: supposedly. Jami Dunn: fine. Betty Garver: 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. Jeanette Boggioni: Yeah. Betty Garver: 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 Jeanette Boggioni: Mm-hmm. Betty Garver: 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. Jami Dunn: Yeah. Betty Garver: Yeah. Jami Dunn: S a good idea. Betty Garver: 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 Jami Dunn: Yeah. Betty Garver: 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? Jeanette Boggioni: We should Linda Mccrea: Yeah. Jeanette Boggioni: include Jami Dunn: Yeah. Jeanette Boggioni: speech synthesis in this case, no? Betty Garver: Uh? Jami Dunn: Yeah Linda Mccrea: Yeah. Jami Dunn: but uh as Norman say if uh there is uh already a commercial product Betty Garver: Yeah. Jami Dunn: available who t who do this we we can check uh to integrate Betty Garver: Yeah. Jami Dunn: it i Betty Garver: Yeah. Jami Dunn: into our uh new remote control. Betty Garver: 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 Jeanette Boggioni: Mm-hmm. Betty Garver: you up arrow there's a V_ like as as if it's turning down so it's confusing interface, so I Jami Dunn: Yeah Betty Garver: wanna Jami Dunn: yeah. Betty Garver: 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 Jami Dunn: Hmm. Betty Garver: there but we have to choose later on Jami Dunn: Yeah. Betty Garver: which ones are important to be used. And basically Jami Dunn: Well I Betty Garver: uh Jami Dunn: I think you it's it's it's fine you have uh reviewed all all the Betty Garver: Yeah. Jami Dunn: possibilities but uh uh well uh i if we consider that uh the user interface is displayed on the T_V_ screen Betty Garver: Mm-hmm. Jami Dunn: I don't think we nee uh we need much buttons in the remote since we Betty Garver: Yeah. Jami Dunn: we just have to navigate and to have a okay or enter key or Betty Garver: Mm. Jami Dunn: things like that, because uh adding wheels or scrolls uh makes the thing more complicated and more Betty Garver: Mm. Jami Dunn: expensive also, so. Betty Garver: Okay. Jeanette Boggioni: 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 Jami Dunn: Yeah. Jeanette Boggioni: m Jami Dunn: That's Jeanette Boggioni: might Jami Dunn: a good Jeanette Boggioni: in Jami Dunn: idea. Jeanette Boggioni: the in the T_V_. Jami Dunn: To have a help button. Betty Garver: A help button. Jami Dunn: Yeah. Jeanette Boggioni: Yeah. Betty Garver: So you are display on the screen. Jami Dunn: On Jeanette Boggioni: On Betty Garver: So Jami Dunn: the T_V_ Jeanette Boggioni: T_V_ Jami Dunn: screen. On Betty Garver: on Jami Dunn: the Betty Garver: the Jami Dunn: T_V_ Betty Garver: T_V_ Jeanette Boggioni: T_V_ Betty Garver: screen. Jami Dunn: screen Jeanette Boggioni: screen. Jami Dunn: the Jeanette Boggioni: So Jami Dunn: uh Jeanette Boggioni: just you Betty Garver: Okay. Jeanette Boggioni: push Jami Dunn: how to Jeanette Boggioni: the Jami Dunn: use Jeanette Boggioni: button Jami Dunn: your Jeanette Boggioni: and Jami Dunn: remote. Betty Garver: Okay. Jeanette Boggioni: we will Linda Mccrea: Oh. Betty Garver: Okay. So that eliminates all the complicated documentation, Jeanette Boggioni: Yeah. Betty Garver: okay. So Linda Mccrea: But Betty Garver: wi Linda Mccrea: people are often enough looking at the help, once they see Jeanette Boggioni: If Linda Mccrea: the Jeanette Boggioni: the Linda Mccrea: help Jeanette Boggioni: if Linda Mccrea: button they say oh this is a complicated stuff. Jeanette Boggioni: No In the case Jami Dunn: Uh Jeanette Boggioni: where Jami Dunn: yeah. Jeanette Boggioni: they need help, Linda Mccrea: It's a psychology. Jeanette Boggioni: in the case where they need Jami Dunn: In a marketing Jeanette Boggioni: help. Jami Dunn: point Linda Mccrea: Okay. Jami Dunn: of view. Linda Mccrea: And Betty Garver: Yeah. Linda Mccrea: let us see what the market demands. We could Jeanette Boggioni: Yeah. Linda Mccrea: just go to my presentation. Jami Dunn: But uh wel well I Jeanette Boggioni: It's Jami Dunn: think Jeanette Boggioni: just for user customizable, Linda Mccrea: Yeah that's Jeanette Boggioni: for Linda Mccrea: right. Jeanette Boggioni: kids or old people. Betty Garver: Mm. Linda Mccrea: I mean Jeanette Boggioni: So Linda Mccrea: it just showed us the remote with an cap which could be used for kids and if you remove the Jeanette Boggioni: So it's the same Linda Mccrea: Same remote with some Jeanette Boggioni: Can be used by both Linda Mccrea: Both Jeanette Boggioni: kids Linda Mccrea: yeah. Jeanette Boggioni: and Betty Garver: Mm. Jeanette Boggioni: old people. Betty Garver: 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. Jeanette Boggioni: Maybe for kids, kids they like uh Betty Garver: Small Jeanette Boggioni: t no Jami Dunn: Uh Jeanette Boggioni: l Jami Dunn: well. Jeanette Boggioni: they Jami Dunn: So Jeanette Boggioni: like Betty Garver: Yeah. Jeanette Boggioni: to Jami Dunn: le le let's see what Betty Garver: Let's Jami Dunn: uh Betty Garver: see the Jami Dunn: what Betty Garver: market demand. Jami Dunn: people Linda Mccrea: And Jami Dunn: want. Linda Mccrea: then we Betty Garver: What Linda Mccrea: decide what Betty Garver: what market Linda Mccrea: what we can Betty Garver: yes Linda Mccrea: yeah. Betty Garver: yes. Linda Mccrea: 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 Jeanette Boggioni: Yeah. Linda Mccrea: percent say they use only ten percent of the buttons, Jami Dunn: Yeah. Linda Mccrea: so Jeanette Boggioni: Mm-hmm. Linda Mccrea: the rest of the ninety percent of the buttons they're not Betty Garver: Yeah. Linda Mccrea: used most of the times. Betty Garver: Yes. Linda Mccrea: 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_. Betty Garver: Yeah. Linda Mccrea: And by the time they found the remote control the program is finished. So Jami Dunn: Yeah. Linda Mccrea: they're frustrated a lot And um if the remote control is too complicated it takes much time to learn the Betty Garver: Mm. Linda Mccrea: functionality Jami Dunn: Mm, the Linda Mccrea: of Jami Dunn: functionalities Linda Mccrea: it. Jami Dunn: yeah. Linda Mccrea: 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. Jami Dunn: Yeah. Linda Mccrea: 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. Betty Garver: Oh. Jami Dunn: 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 Betty Garver: Big screen. Jami Dunn: a big screen and uh display on the screen. It's Linda Mccrea: Mm-hmm? Jami Dunn: yeah of course it's fancy trendy and so on but it's it's expensive to produce Betty Garver: Yeah. Jami Dunn: and it's Linda Mccrea: I mean Jami Dunn: not Linda Mccrea: as Jami Dunn: really Linda Mccrea: our survey says that people are willing to pay more if Jami Dunn: Yeah. Linda Mccrea: 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 Betty Garver: Mm yeah. Linda Mccrea: as we have saw that iPod Jami Dunn: Yeah Linda Mccrea: remote Jami Dunn: yeah. Linda Mccrea: control. Betty Garver: Mm. Linda Mccrea: We just play Betty Garver: The thing Linda Mccrea: around Jami Dunn: Yeah but when you play with the iPod you don't have a big screen in front of you, Betty Garver: Yeah. Linda Mccrea: Yeah. Jeanette Boggioni: You can Betty Garver: Yeah. Jami Dunn: s Jeanette Boggioni: use this screen instead of the Betty Garver: Yeah. Jeanette Boggioni: big se screen, Betty Garver: If Jeanette Boggioni: instead Betty Garver: you Jeanette Boggioni: of Betty Garver: re-use Jeanette Boggioni: use Betty Garver: the Jeanette Boggioni: the Betty Garver: existing screen, Jeanette Boggioni: yeah. Betty Garver: we element eliminate the L_C_D_, after all the L_C_D_ just to display Jeanette Boggioni: Hmm. Betty Garver: and if you have the colourful screen you can make the display colourful, fancy, Linda Mccrea: Yeah. Betty Garver: as fancy as the one on the L_C_D_, Jami Dunn: Yeah. Betty Garver: maybe even better. So Linda Mccrea: I mean this were the points Betty Garver: Yeah. Linda Mccrea: which we got from the market Jami Dunn: Yeah. Yeah yeah. Linda Mccrea: demands. So Betty Garver: Yeah. Jami Dunn: So I th I I Linda Mccrea: the other Jami Dunn: think Linda Mccrea: one Jami Dunn: we we can focus on the uh on the fancy look on the uh Betty Garver: Yeah. More on a fancy Linda Mccrea: Yeah that's Betty Garver: design. Linda Mccrea: fine. Yeah. Jami Dunn: on the speech Linda Mccrea: I mean Jami Dunn: recognition Linda Mccrea: that's Jami Dunn: if the technology is available but well I think Betty Garver: Yeah. Jami Dunn: L_C_D_ will uh will uh make us spend a lot of money for Betty Garver: Mm. Jami Dunn: not so big results. Betty Garver: Remember Linda Mccrea: Mm-hmm. Betty Garver: we have a s budget Jeanette Boggioni: But Betty Garver: for the cost of producing the remote controller. Jeanette Boggioni: Yeah. Betty Garver: Yeah. Linda Mccrea: Uh yeah Betty Garver: So Linda Mccrea: we Betty Garver: i Linda Mccrea: have Betty Garver: is Linda Mccrea: uh Betty Garver: so the thing is you can find out how much an L_C_D_ will cost and then we'll decide again. Linda Mccrea: I mean that should be found out by the Industrial Designers. Betty Garver: Uh maybe you can find out the price and tell us next time. Jami Dunn: So Betty Garver: Is i if Jami Dunn: price Betty Garver: i Jami Dunn: of uh L_C_D_ display. Betty Garver: Yeah. Linda Mccrea: And it's Jami Dunn: And Linda Mccrea: always good to have an voice recognition Betty Garver: Yeah. Linda Mccrea: for the remote Betty Garver: And Linda Mccrea: controls. Betty Garver: also the cost for the speech recognition. Jeanette Boggioni: Mm. Jami Dunn: Yeah. Betty Garver: Ask our R_ Jeanette Boggioni: It's Betty Garver: and Jeanette Boggioni: for Betty Garver: D_ department. Jeanette Boggioni: it's just for small vocabulary. Betty Garver: Yeah. Linda Mccrea: Yeah Jeanette Boggioni: We Linda Mccrea: it's o only Jeanette Boggioni: it's Linda Mccrea: for Jeanette Boggioni: not Linda Mccrea: a limited vocabulary, Betty Garver: Yeah. Jeanette Boggioni: yeah. Linda Mccrea: say Betty Garver: And ho Linda Mccrea: eighty commands or so. Jeanette Boggioni: Yeah. Betty Garver: Yeah. Jami Dunn: Yeah okay. Betty Garver: And also Jami Dunn: And Betty Garver: the scroller button, how much will it cost. Jami Dunn: Well uh compared to the to s the simpl simpler Jeanette Boggioni: Yeah. Jami Dunn: simplest Linda Mccrea: Mm, Jeanette Boggioni: Push Jami Dunn: button. Linda Mccrea: the scroll Jeanette Boggioni: push. Linda Mccrea: button, from the survey we never see that people would like to have Jami Dunn: Yeah. Linda Mccrea: some scrolling button. Because Jami Dunn: Yeah I think Linda Mccrea: they they Jami Dunn: that Linda Mccrea: just they're just frightened to use the scrollings Betty Garver: Yeah. Linda Mccrea: or help button. Jami Dunn: 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 Betty Garver: Don't use the buttons. Jami Dunn: n choose the button so uh I think to have uh five uh simple Betty Garver: Yeah. Jami Dunn: button is sufficient Betty Garver: Yeah. Jami Dunn: for our Betty Garver: Yeah. Jami Dunn: functionality. Betty Garver: Yeah. Linda Mccrea: Yeah. Jeanette Boggioni: It doesn't mean that the other buttons are not Betty Garver: Important. Jeanette Boggioni: necessary or important. Jami Dunn: Yeah. But Jeanette Boggioni: But they are just less Linda Mccrea: They're Jeanette Boggioni: used Linda Mccrea: not used much. Jeanette Boggioni: compar yeah. Jami Dunn: But the uh the thing is is i is that we can add a functionality on the on the T_V_ screen like Betty Garver: Yeah. Jami Dunn: uh a a list of function Betty Garver: Yeah. Jami Dunn: and then you choose Betty Garver: Mm. Jami Dunn: with the with the button to Betty Garver: Yeah, Jami Dunn: well Betty Garver: yeah. Jami Dunn: you navigate and you Betty Garver: So so the at Jeanette Boggioni: Or Betty Garver: most Jeanette Boggioni: maybe we Betty Garver: more Jeanette Boggioni: can Betty Garver: power Jeanette Boggioni: u Betty Garver: uh. Jeanette Boggioni: uh or maybe we can uh make this the ten percent of button more bigger than the others. Jami Dunn: Yeah. Jeanette Boggioni: So. Jami Dunn: 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, Betty Garver: Yep. Jami Dunn: one to go up left right down and uh enter Betty Garver: Yeah. Jami Dunn: and you you you just select the functionality you want to access Betty Garver: Mm. Jami Dunn: or things like Betty Garver: Mm. Jami Dunn: that. Betty Garver: Yeah. Jami Dunn: You don't have to to switch to a channel Betty Garver: Yeah. Jami Dunn: to another Jeanette Boggioni: Mm. Jami Dunn: uh Linda Mccrea: 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 Jami Dunn: Yeah Linda Mccrea: if you Jami Dunn: but Linda Mccrea: 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 Betty Garver: Mm. Linda Mccrea: the stuff. And Jami Dunn: Yeah Linda Mccrea: accordingly Jami Dunn: but Linda Mccrea: you can just increase or decrease. Betty Garver: Mm. Jami Dunn: if Jeanette Boggioni: It's Jami Dunn: you look at the L_C_D_ you you don't look at the T_V_ screen so Betty Garver: Mm. I if Jami Dunn: i i it's Betty Garver: Mm. Jami Dunn: not really worth to get Betty Garver: Mm. Jami Dunn: to have the image if you don't look Betty Garver: Yeah. Jami Dunn: at, Jeanette Boggioni: And Jami Dunn: so. Jeanette Boggioni: I think it's increases the cost of the Jami Dunn: Yeah. Jeanette Boggioni: the remote control if you use Linda Mccrea: Yeah that Jeanette Boggioni: L_C_D_. Linda Mccrea: has to be checked out. Betty Garver: I think that Jeanette Boggioni: I Betty Garver: 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, Jami Dunn: Yeah. Betty Garver: 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 Linda Mccrea: Yeah. Betty Garver: 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 Linda Mccrea: Okay. Betty Garver: that wil eliminates the the need for L_C_D_, with the help of speech recogniser you can Linda Mccrea: I mean, Betty Garver: Yeah. Linda Mccrea: better if we could just check all the cost with L_C_D_ and also with the speech recognition. Betty Garver: Mm. Jami Dunn: Yeah. Linda Mccrea: And then we could find which would Betty Garver: Mm. Linda Mccrea: would be a more Betty Garver: Mm. Linda Mccrea: suitable in this case. Betty Garver: Yeah. A and Linda Mccrea: And the third problem was to find the remote control. Always, so fifty percent of the people say they lose the remotes. Jami Dunn: Well so we we can think about a well a a vocal command like uh Betty Garver: Mm. Jami Dunn: find and when the remote control uh Betty Garver: Where, Jami Dunn: hears Jeanette Boggioni: You will Jami Dunn: fine Jeanette Boggioni: listen to a peep, Jami Dunn: well Jeanette Boggioni: special Jami Dunn: yeah Betty Garver: yeah. Jami Dunn: just Jeanette Boggioni: peep. Jami Dunn: uh to make him beep Linda Mccrea: Yeah that's right, that's exactly Jami Dunn: or t Linda Mccrea: what I mean by voice commander. Or Jami Dunn: Yeah. Linda Mccrea: it could be also Betty Garver: Yeah. Linda Mccrea: something like this, uh it's always Betty Garver: Mm. Linda Mccrea: boring to change the batteries of the remotes control, Jami Dunn: Yeah. Linda Mccrea: so we have some one charger there and whenever we don't use the remote control Betty Garver: Put it back Linda Mccrea: we put Jami Dunn: Put Betty Garver: at the Linda Mccrea: it Betty Garver: charge. Linda Mccrea: in the charger. Betty Garver: Yeah. Linda Mccrea: 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, Jami Dunn: Yeah. Betty Garver: Yeah. Linda Mccrea: wherever Jeanette Boggioni: Okay. Linda Mccrea: it is. Jami Dunn: And that's a good idea, that's simple, Jeanette Boggioni: Yeah. Betty Garver: Mm. Linda Mccrea: I mean Jami Dunn: like Linda Mccrea: it Jami Dunn: in Linda Mccrea: doe Jami Dunn: phones. Linda Mccrea: it also doesn't require a voice command, because Jami Dunn: Yeah. Linda Mccrea: there are Jeanette Boggioni: But Linda Mccrea: problems Jeanette Boggioni: you Linda Mccrea: with Jeanette Boggioni: don't Linda Mccrea: a voice Jeanette Boggioni: you don't Linda Mccrea: command. Jeanette Boggioni: have to move Betty Garver: Hmm. Jeanette Boggioni: the the charger. Betty Garver: Mm. Linda Mccrea: Yeah, yeah, yeah. I mean Betty Garver: Th Linda Mccrea: charger Jeanette Boggioni: You Linda Mccrea: would Jeanette Boggioni: have Betty Garver: yeah. Linda Mccrea: be Jeanette Boggioni: to Linda Mccrea: fixed Jeanette Boggioni: keep Linda Mccrea: because it's Jeanette Boggioni: it. Jami Dunn: Yeah. Linda Mccrea: always with Betty Garver: Mm yeah. Linda Mccrea: electricity plugged. Jami Dunn: Yeah if Betty Garver: Yeah. Jami Dunn: there Jeanette Boggioni: Okay. Jami Dunn: if there uh there Betty Garver: Mm. Jami Dunn: is nuff not enough battery. Betty Garver: Mm. There's Jami Dunn: Also Betty Garver: mm. Jami Dunn: and Betty Garver: Mm. Jami Dunn: uh uh the remote is lost. Betty Garver: Yeah. Linda Mccrea: Yeah that's right. Betty Garver: 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 Linda Mccrea. Jami Dunn: Yeah. Betty Garver: 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. Linda Mccrea: It's an good reminder, Betty Garver: Yeah. Linda Mccrea: right. Betty Garver: So you will never get lost Jami Dunn: Okay. Betty Garver: yeah. Jeanette Boggioni: Maybe for some people lazy Betty Garver: Yeah. Jeanette Boggioni: people. Betty Garver: Yeah because everything is programmed inside. Jeanette Boggioni: Yeah yeah. Betty Garver: So it's it's uh it's all about strategy, y Linda Mccrea: And of course the final point is a fancy look. Betty Garver: Mm. Linda Mccrea: As we have seen earlier the remotes which were displayed by Betty Garver: Mm. Linda Mccrea: Norman they weren't fancy, Jami Dunn: They were ugly. Linda Mccrea: I mean mm Jami Dunn: They Linda Mccrea: very Betty Garver: Yeah, Linda Mccrea: big or Betty Garver: yeah. Linda Mccrea: something Jeanette Boggioni: Mm. Linda Mccrea: with lot of buttons. I think we should have something Jami Dunn: Well Linda Mccrea: it Jami Dunn: the last one with the um Betty Garver: With uh two two Jami Dunn: yeah with the two parts was Betty Garver: two parts Jami Dunn: uh Betty Garver: controller. Jami Dunn: original, Linda Mccrea: I mean Jami Dunn: so Linda Mccrea: 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 Jami Dunn: Yeah. Linda Mccrea: use it, you can't avoid him. But you can have an button for child lock. Betty Garver: Yeah. Jami Dunn: Yeah. Betty Garver: Mm. Linda Mccrea: So just by pressing the button with Betty Garver: Mm. Linda Mccrea: some code, you t you put a lock Betty Garver: Mm. Linda Mccrea: onto the remote, Betty Garver: Mm. Linda Mccrea: so that he can't use even Jami Dunn: Well Betty Garver: Mm. Jami Dunn: we can think about uh having uh on the on the on the user interface when you switch on the T_V_ Linda Mccrea: Mm Betty Garver: Mm. Linda Mccrea: uh Jami Dunn: you can uh well write a code or choose a category, Jeanette Boggioni: Or Betty Garver: Mm. Jami Dunn: if it is kids, uh Betty Garver: Yeah. Jami Dunn: things like that. Linda Mccrea: That's right. Betty Garver: Mm. Jeanette Boggioni: Or maybe you have to to show some specific programmes for kids and Betty Garver: Mm. Jeanette Boggioni: then just Betty Garver: these Jeanette Boggioni: just Betty Garver: are probl Jeanette Boggioni: yeah Betty Garver: yeah. Jeanette Boggioni: just push uh kids button Betty Garver: Mm. Mm. Jeanette Boggioni: so it's automatically. Betty Garver: Mm. Jeanette Boggioni: So if he. Linda Mccrea: I think these other four points they're the market demands and so it's for the user interface design Jami Dunn: So for Linda Mccrea: and Jami Dunn: mm Betty Garver: Mm. Linda Mccrea: industrial Jeanette Boggioni: Yeah. Linda Mccrea: design Jami Dunn: yeah. Linda Mccrea: to Jami Dunn: So Linda Mccrea: just Jami Dunn: for Linda Mccrea: think Jami Dunn: my part I will check the prices the um the prices difference uh of what to use, where to use, and s Linda Mccrea: Yeah Jami Dunn: uh Linda Mccrea: I think it Jami Dunn: and Linda Mccrea: should Jami Dunn: so Linda Mccrea: be clearer Jami Dunn: on. Linda Mccrea: for us in the next meeting that Jami Dunn: Yeah. Linda Mccrea: th uh these could be included. Betty Garver: Mm. I think we need to define also a s the set of vocabularies for the speech recogniser Jami Dunn: Yeah. Betty Garver: 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, Jeanette Boggioni: Mm-hmm. Betty Garver: but if name the channel by by name Jami Dunn: 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 Betty Garver: Mm. Jami Dunn: with sports program playing now and Linda Mccrea: No, Jami Dunn: and uh Linda Mccrea: 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 Jeanette Boggioni: Yeah Linda Mccrea: suddenly Jeanette Boggioni: it's yeah. Linda Mccrea: the screen the channel goes to twenty five. So I think Jami Dunn: That's Betty Garver: Mm. Linda Mccrea: there Jami Dunn: right, Linda Mccrea: should be Jami Dunn: yeah, Linda Mccrea: a prefix Jami Dunn: yeah. Linda Mccrea: to some numbers Jami Dunn: Well but well e every possible word uh has a probability to come about of the T_V_ Betty Garver: Yeah. Jami Dunn: so. Linda Mccrea: I mean the the you just check all the probability that saying T_V_ twenty five and just ordinary twenty five. Betty Garver: Mm. Jami Dunn: Yeah Linda Mccrea: Ordinary Jami Dunn: yeah. Linda Mccrea: twenty five you almost there's a probability of being said Jami Dunn: Yeah Betty Garver: Mm. Jami Dunn: but Linda Mccrea: around sixty Jami Dunn: well Linda Mccrea: seventy percent Jami Dunn: okay. Linda Mccrea: and T_V_ twenty five I dunno it will be round Betty Garver: Mm. Linda Mccrea: about one or two percent. Jeanette Boggioni: Mm-hmm. Betty Garver: Mm. Linda Mccrea: So it's better to have some prefix before the number. Betty Garver: 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. Linda Mccrea: Yeah something, some code. Betty Garver: You say numbe channel number five of the T_V_ correspond to something else Jami Dunn: Yeah Betty Garver: in Jami Dunn: yeah. Betty Garver: the channel. So some people may want to say, I want to see this Jami Dunn: Mm Betty Garver: channel. Jami Dunn: mm. Well Linda Mccrea: That will Jami Dunn: I Linda Mccrea: be too big. And Jeanette Boggioni: Or Linda Mccrea: it will Jeanette Boggioni: just Linda Mccrea: be difficult for the vocabulary also. Betty Garver: Yeah. Check with the v R_ and D_ department the Jeanette Boggioni: It's Betty Garver: capability Jeanette Boggioni: difficult Betty Garver: of Jeanette Boggioni: to Betty Garver: recogniser. Jeanette Boggioni: to just say the the name of the channel. Betty Garver: Uh? Jeanette Boggioni: It will be difficult to say just the name of the channel. Because Betty Garver: Well, Jeanette Boggioni: you have Betty Garver: it's Jeanette Boggioni: to Betty Garver: convenient Jeanette Boggioni: s t Betty Garver: for Jeanette Boggioni: uh Betty Garver: the user. Jeanette Boggioni: a ch yeah but you have to to have all the name of the channel in your vocabulary. Linda Mccrea: Als might be you just forgot Jeanette Boggioni: Or maybe Linda Mccrea: the channel name, you Jami Dunn: Yeah. Linda Mccrea: kno only know the number. Then Betty Garver: The Jeanette Boggioni: Or maybe Betty Garver: uh Jeanette Boggioni: the user Betty Garver: uh Jeanette Boggioni: can create Betty Garver: mm. Jeanette Boggioni: his own vocabulary, Betty Garver: Mm. Jeanette Boggioni: just pronouncing the Betty Garver: I I think that Jeanette Boggioni: the Betty Garver: I Jeanette Boggioni: name Betty Garver: have Jeanette Boggioni: of channels and Betty Garver: mm Jeanette Boggioni: include Betty Garver: mm Jeanette Boggioni: in the vocabulary. Betty Garver: 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 Linda Mccrea: Yeah, Betty Garver: just you Linda Mccrea: the. Betty Garver: you just choose the the option you want and then you just hit the button and then you go to that channel. So Jeanette Boggioni: Or lets the user create his Betty Garver: Mm. Jeanette Boggioni: own vocabulary Betty Garver: So Jeanette Boggioni: of Betty Garver: you Jeanette Boggioni: channel. Betty Garver: you don't use the speech recogniser in that way. Jeanette Boggioni: No. Just you have uh in the beginning you have uh t you have to train you have to create the vocabulary Betty Garver: Oh, okay. Jeanette Boggioni: by yourself. Betty Garver: Yeah. Jami Dunn: Well I uh I Jeanette Boggioni: By Jami Dunn: also Jeanette Boggioni: associating each channel with the name or Jami Dunn: I I also think about uh another problem, if if there is uh more than one person who is watching T_V_ Linda Mccrea: Yeah Jami Dunn: the Jeanette Boggioni: And Jami Dunn: s Jeanette Boggioni: for Linda Mccrea: yeah, Jeanette Boggioni: each one Jami Dunn: well Jeanette Boggioni: has Jami Dunn: the Jeanette Boggioni: his Jami Dunn: the speech uh Jeanette Boggioni: own. Jami Dunn: r recogniser should be able to distinguish between the two. Because uh Betty Garver: Mm. Jami Dunn: I remember when I was a young child Jeanette Boggioni: Or Jami Dunn: with Jeanette Boggioni: you have Jami Dunn: my sister Jeanette Boggioni: to Betty Garver: Yeah, I wanna watch Linda Mccrea: Yeah. Jeanette Boggioni: s Jami Dunn: we Betty Garver: this, I wanna watch Jami Dunn: yeah Betty Garver: that. Jami Dunn: 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, Betty Garver: Mm. Jami Dunn: s Linda Mccrea: 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 Jami Dunn: Yeah, yeah. Linda Mccrea: where there is a lot of noise Jeanette Boggioni: Yeah. Linda Mccrea: and this voice commands if they fail to work, that would bring a bad name bad uh reputation Betty Garver: Mm. Linda Mccrea: for our company. So Jeanette Boggioni: Mm. Linda Mccrea: 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 Jami Dunn: Yeah. Linda Mccrea: s something. Jeanette Boggioni: Or we can switch on or switch off the the special, Linda Mccrea: Yeah that's right that should be an option. Jeanette Boggioni: yeah. Betty Garver: Mm. Jami Dunn: Yeah that's well I think that's a good uh a good option because it's simple and uh simple Betty Garver: Hmm. Jami Dunn: to implement also, so. Linda Mccrea: I think these are the practical problems. So we need to take care of them in the design. Jeanette Boggioni: Maybe we'll discuss them in next meeting. It's time to close this meeting. Jami Dunn: Okay. Betty Garver: Well, you Linda Mccrea: Okay. Betty Garver: you stay a five minutes. Linda Mccrea: Oh it came there on three minutes back Jeanette Boggioni: Yeah. Linda Mccrea: so we are I think we can just press the Jeanette Boggioni: Okay. Linda Mccrea: okay. Jami Dunn: Okay. So Jeanette Boggioni: Thanks Jami Dunn: I see Jeanette Boggioni: for Jami Dunn: ya. Linda Mccrea: Okay. Jeanette Boggioni: your collaborations. Linda Mccrea: See you another thirty minutes.

Jami Dunn 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. Betty Garver 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. Linda Mccrea 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.

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Holly Murray: Oops That's as far as it goes. Janet Howard: Hi guys uh good morning everybody here. And uh want to introduce myself, uh my name is uh Shrida Daseri and uh I'm a project manager for this new project which we are going to discuss now. So I want to introduce first of all uh the names and the colleagues here. And what you're uh drawing? Wanda Siple: Uh sure my name is Agnes and user usability user interface designer. Cindy Doughty: My name is Ed and I do accounting. Janet Howard: Uh how you spell your name uh? Cindy Doughty: E_D_. Janet Howard: E_D_ okay. Cindy Doughty: Mm. Janet Howard: And? Holly Murray: Do you also do marketing? Cindy Doughty: No. Janet Howard: So only accounting? Cindy Doughty: Accounting, Janet Howard: Okay. Cindy Doughty: yes. Janet Howard: And? Holly Murray: And I'm Christine, Janet Howard: Mm-hmm. Holly Murray: and my role in this uh scenario is to be Holly Murray. Janet Howard: Industrial designer. Holly Murray: But I'm not really one. Janet Howard: So who is uh marketing, nobody Cindy Doughty: Marketing Janet Howard: in the market Cindy Doughty: is uh, is Cindy Doughty. Janet Howard: okay. So thanks for coming for the meeting first of all, and uh we have a long time, just twenty-five minutes to discuss about uh this project and the the project initiation. First of all I want to ask uh Mister Ed about your uh marketing plan and your product plan and uh Cindy Doughty: Well I think that we'll see that throughout the day in how we're going to put this together as a marketing to to market the product. We'll have to see on a through discussion on where we're gonna go from here and from with this. Janet Howard: Mm-hmm but uh do you already have like a functional design or a technical design Cindy Doughty: Uh Janet Howard: or Cindy Doughty: for the moment not yet. Janet Howard: Oh for the moment not yet, okay, but uh what's what's your uh do you have some project plan, something with you or Cindy Doughty: Good question. No, we have to be discussed between all of us and we'll go from there. We'll have to Janet Howard: Mm-hmm. Cindy Doughty: simply we'll have to work on it together. Janet Howard: Okay, so uh by when you think you can uh give Cindy Doughty some kind of uh project plan, okay, a discussion with Cindy Doughty: Certainly Janet Howard: uh Cindy Doughty: by the next meeting. Janet Howard: By next meeting, okay that will be great. Uh Okay, so there's any questions or uh first of all about uh this project? Holly Murray: What is the goal of the project? Janet Howard: Uh the goal of the project I think maybe I'll uh hand out to the Ed, okay, so to explain uh what is the project because he's in the sales and the accounting. Cindy Doughty: I'm in the sales I'm supposed to explain them what to do. We have to define exactly what our product is, from uh Janet Howard: Yes, so can you explain uh what exactly the product is? Cindy Doughty: From what I had in mind we're supposed to be marketing coffee, is that right? Janet Howard: Oh I think Wanda Siple: Um I Janet Howard: uh, Wanda Siple: was wondering Janet Howard: if I'm not wrong, we're making the remote control. Cindy Doughty: Remote controls, 'cause I had two different things. I had a first part of mine was to make a remote control for a new f remote control for television, and afterward I had a discussion about coffee so Janet Howard: Yes. Cindy Doughty: we'll start with the remote control for television then. So we're have to design something that is very user friendly. Janet Howard: Mm-hmm. Wanda Siple: Mm-hmm. Cindy Doughty: Something uh visual that has something that will will draw people to buy the product, Janet Howard: Mm-hmm. Cindy Doughty: because I think everybody's experienced with uh remote controls, and some remote controls are are worth uh throwing out the window. Uh th most of them ar I don't know we're have to come up with a new idea on how to make it a lot easier to use, Janet Howard: Mm-hmm. Cindy Doughty: 'cause a lot of times uh spend uh half a day through the instruction book trying to figure out how to use it. Janet Howard: Mm-hmm. Wanda Siple: Mm. Janet Howard: And uh what abo uh Christine, what about your uh the industrial design plan? Are you have a design already on this product or uh you're still working on the design? Holly Murray: Um no, I I have not begun working on the design, Janet Howard: Mm-hmm. Holly Murray: and um I uh I actually didn't know we were designing a remote control, I thought we were designing a new monitor. Um the website I of a um uh some sort of a seven inch um monitor, and um I understood that that was the project goal. So um I'm glad I didn't d do any work um ahead of time because uh I clearly didn't understand the project goal. Janet Howard: Okay. Holly Murray: Um I just did s see that we were starting a new project together and there was going to be a four member team composed of these people, and um that's about uh that's Janet Howard: Mm-hmm. Holly Murray: and I I read through the different steps, and what my responsibilities were relative to the steps. Janet Howard: So uh you'll be leading the team for your design team or how many members is working in the team, for the design? Holly Murray: Uh for the industrial design? Janet Howard: Yes. Holly Murray: Um well, I would th think that depends on how much money you give us. Janet Howard: Okay. That's Holly Murray: Um because uh, you know, you can uh you can make it uh you have different choices with different financial models. Janet Howard: Yeah, but uh before we talk about uh the finance, okay, uh do you have some idea how we can uh sell this product or project in the market and how much is going to benefit to the company and uh of course it's to the individual also. Holly Murray: Well, you know um, I kind of think that in general you have to do uh um y you have to have something that's very fashionable, that's uh very attractive that um people see and recognize uh its goal, and uh they immediately wanna have it uh have one of their own. So it would really would need to um something like the iPod would be good, seems to have caught on fairly well, so Janet Howard: Mm-hmm. Holly Murray: um d uh you know, I don't care what it does, just so it looks cool. Janet Howard: Okay, but uh uh when you think you can give Cindy Doughty like a kind of design on the functional design or the technical design? Holly Murray: Well, uh I've got a lot of other projects I'm doing right now um and so I'll have to wait and see how those uh how those go. If they uh go quickly then uh it could be a month. If um if I run into any problems in my other projects it might be six months. Janet Howard: Yeah, but uh I need something in the writing, so like uh what's your functional design, what's your technical design, and uh how many people you need for this project, Holly Murray: Mm-hmm. Janet Howard: and what's the time frame you're looking, okay, Holly Murray: Mm-hmm. Janet Howard: and what is the budget, maybe uh initial budget you're looking, okay, and uh how is going to the market, okay, so you've you've had to meet with the marketing team and how they're going to market and what are the marketing strategic plan, okay, when are you going to introduce, okay, and by the time you introduce the product and uh you know there there would be a competition, okay, so I need some kind of uh uh the plan in the writing from you. Okay, and Holly Murray: And Janet Howard: it's po Holly Murray: when would you like that? Janet Howard: B as soon as possible. Holly Murray: Uh well if uh if we have enough time uh then d do you think um two weeks is a is close enough? Janet Howard: Yes I think uh that would be good, because I need to go to the management and uh tell them what we are going to do, and uh what cost is, okay, and what's the time frame and what's the project plan, because uh without any uh documentations, I cannot go to the management and say, so we are going to do this and we need this much money, okay, so then it's it's difficult for Cindy Doughty to say, okay, that's the reason I need uh some kind of plan from you, initially, okay, then we can have the further discussion again. Holly Murray: Uh are there other people who will be contributing to the plan? Janet Howard: Yes, of course, if you need some help, uh so let Cindy Doughty know. So, who are the people you need uh from the marketing or uh the technical side or uh the administration point of view, okay, to add in any documentation, or some technical point of view, so just let Cindy Doughty know so I can uh coordinate all the teams. Holly Murray: Okay, I'll get back to you on that. Janet Howard: Yes. Thank you. Okay. And uh Ed uh so what's what do you think about uh this uh project for the remote control and d do you have some already planned something for your marketing strategy or uh the sales strategy? Cindy Doughty: Well not yet other than uh doing research and taking remote controls and looking what other companies have to do Janet Howard: Hmm. Cindy Doughty: uh, what they're building, their designs, their ideas, uh also have to pinpoint which market we're gonna go into. Janet Howard: Mm-hmm. Cindy Doughty: It should be a fairly large market because uh the number of people that uh the competition, Janet Howard: Mm-hmm. Cindy Doughty: uh th I agree it has to be something it has to be something new, it has to be something that that draws people saying eh, I like this. Whether it works or not, they have to first say I like this, I like the design, and then it's gotta be simple to use. Janet Howard: Yes, so what I uh prefer maybe uh you need to interact uh more with the Christine, okay, because you know what she is going to do it, okay, and you know how to sell it. Okay, because uh she is doing the design, but Cindy Doughty: Yeah. Janet Howard: you are the core because you are in the marketing, okay, so because you need to sell and you're the responsible for the all the money, the finance, okay, Cindy Doughty: Mm-hmm. Janet Howard: tomorrow. So, what I prefer, Cindy Doughty: Mm-hmm. Janet Howard: and uh you need to come up with some kind of plan, okay, how we are going to do the your sales plan, okay, Cindy Doughty: Do we Janet Howard: th Cindy Doughty: already have a cost limit on this, th an idea of how much uh we Janet Howard: Th Cindy Doughty: want to market this for, Janet Howard: That Cindy Doughty: how much it's Janet Howard: that's Cindy Doughty: gonna sell for, that's up that's up to us to decide, Janet Howard: Yes, that's Cindy Doughty: eh? Janet Howard: you have to decide, okay, so the best thing is you uh both of uh the Christine and you discuss with yourself, okay, and come up with the cost, and how we are going to compete in the market, okay, in the the technically, or in the sales wise, okay, the commercial wise, okay. Then uh we have to design, okay, how long it will take the whole project, okay, how much is going to cost us, and how much we are going to benefit for the company. Okay, of course it's it's uh of benefit for everybody individually. Okay, so I think it's uh maybe if we can uh give Cindy Doughty some kind of your uh the sales plan, okay, including the technical what uh she's going to talk to you within the team, okay, then it will help Cindy Doughty to discuss with the management for further, okay, and put it in the the proper project plan. Okay, Cindy Doughty: Very good. Janet Howard: and if you need uh any coordination in between uh compared to the maybe the some technical vendors or commercial vendors, okay, depends if you want to have some uh uh marketing plan or technical plan, okay, so you let Cindy Doughty know. Okay, I can Cindy Doughty: Very Janet Howard: coordinate, Cindy Doughty: good. Janet Howard: or maybe uh, you are my coordinator, am I right? Wanda Siple: Mm. Janet Howard: Between uh all Wanda Siple: Well, Janet Howard: the coor Wanda Siple: no, not exactly. I mean my job from what I understood was to look at the usability requirements and make sure that the product is usable, it's acceptable to the people who are gonna use it and look at the best ways to do that. Janet Howard: Yeah. Th Christine, yeah. Wanda Siple: my Janet Howard: Which is Wanda Siple: studies will show right off the bat that it's not going to work, and so it's sort of it's a loop that feeds in, but I don't think necessarily that I'm Janet Howard: Yes. Wanda Siple: in a coordinating position Janet Howard: Yeah, Wanda Siple: for Janet Howard: so Wanda Siple: it. Janet Howard: basically you need to interact with Christine more, okay, for the user acceptability, Wanda Siple: Yeah. Janet Howard: okay, and the testing, okay, Wanda Siple: Mm-hmm. Janet Howard: then you Wanda Siple: Which will Janet Howard: will Wanda Siple: also feed into the marketing, Janet Howard: Yes. Wanda Siple: because depending on what users want, depends on how you sell it, Janet Howard: Yes. Wanda Siple: what tag lines you attach Janet Howard: Yeah. Wanda Siple: to it, how you try Janet Howard: Yeah. Wanda Siple: to make it more attractive Janet Howard: Yeah. Wanda Siple: to users. So I think all three groups will need to interact quite a bit. Um, and then I guess build the plan based on all of that, because I think you need to take all the factors into account. Janet Howard: Yep. But what I request, okay, keep Ed in the loop, okay, Wanda Siple: Yeah, of Janet Howard: in Wanda Siple: course. Janet Howard: between your uh meeting and Christine meeting, because uh he should know what's happening. Wanda Siple: Yeah, we can C_C_ Janet Howard: Yes. Wanda Siple: him on any Janet Howard: Okay Wanda Siple: discussions Janet Howard: and Wanda Siple: or Janet Howard: please Wanda Siple: documents Janet Howard: please Wanda Siple: that Janet Howard: copy Wanda Siple: are passed Janet Howard: all Wanda Siple: around. Janet Howard: the mails, okay, all the discussions to Cindy Doughty, okay, Wanda Siple: Sure. Janet Howard: so I need to submit to the management. Wanda Siple: No problem. Janet Howard: So any questions for uh time being? Cindy Doughty: No. Wanda Siple: So, the immediate next step is to start determining the functional design, Janet Howard: Yes. Wanda Siple: or okay. Janet Howard: Okay. To come up with the functional design and uh to discuss with Ed, okay, and how it's going to be work, and uh first of all with your user acceptance, Wanda Siple: Mm-hmm. Janet Howard: okay, how it looks like and how it's going to be work in the market, okay, so then we can discuss about uh further things. Wanda Siple: Okay. Janet Howard: So, we'll meet when the we'll discuss on the further meeting. It's okay? Wanda Siple: Mm-hmm. Janet Howard: Thanks for coming. Holly Murray: Would you mind um at the conclusion of our meeting could could you send us a copy of your slides? Janet Howard: Yes, Wanda Siple: Mm-hmm, Janet Howard: I Wanda Siple: yeah, Janet Howard: will. Wanda Siple: that would be useful. Janet Howard: Yes. I'll copy, uh le let us keep all the emails and all the copies, okay, share each other, okay, so you know everybody what's happening, Wanda Siple: Sure. Janet Howard: okay? And if anything you need anytime so please either you can call Cindy Doughty, or just send Cindy Doughty email, or uh just come and uh knock my door, okay, so I'm available here. It's good? Wanda Siple: Okay. Janet Howard: Okay, Holly Murray: Thank you. Janet Howard: thanks Wanda Siple: Thanks. Janet Howard: for coming and uh I wish you a nice time then. Wanda Siple: Thank you. Janet Howard: Okay, see you later. Bye.

The group introduced themselves to each other and discussed their roles in the project. Janet Howard opened a discussion about the project plan and asked Cindy Doughty to prepare an overall plan for the project. Cindy Doughty presented the initial aim of the project: the creation of a fresh, user-friendly remote control device. Janet Howard asked Holly Murray to create a functional design plan for the device, then asked Cindy Doughty about ideas for the sales strategy. Cindy Doughty presented an initial sales plan: to analyze the competition and to pinpoint the target marketing group. Janet Howard instructed all participants to work together on their respective design plans. Janet Howard decided that the design plans will be discussed at the next meeting, and that the next step will be to come up with a functional design of the device.

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Jetta Creek: 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 Dorothy Briggs 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. Paula Diana: Okay. So uh, if you could open the presentation. I'm number two. Jetta Creek: You're number two. 'Kay Paula Diana: Components design, there we go. So uh can we put it in slide show mode? Yeah. Jetta Creek: The next one. Paula Diana: 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 Florence Davis: Mm-hmm. Paula Diana: 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, Florence Davis: At least environmentally Paula Diana: this Florence Davis: friendly. Paula Diana: 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? Jetta Creek: Can you go back uh one slide? Paula Diana: I'm not sure, how do I Oh, I know, let's see. Florence Davis: Thank Paula Diana: Let's go back Florence Davis: you. Paula Diana: up here. Florence Davis: Yeah. Jetta Creek: Yes, uh question, uh, what's mean exactly, advanced chip on print? What's the meaning of that? Paula Diana: I think it's um um a multiple uh chip design um and it's uh maybe printed on to the circuit board. Jetta Creek: Mm-hmm. Paula Diana: Uh I could find out more about that Jetta Creek: Yeah, is Paula Diana: uh Jetta Creek: it means Paula Diana: before Jetta Creek: it's Paula Diana: the Jetta Creek: on Paula Diana: next Jetta Creek: the Paula Diana: fi next meeting. Jetta Creek: yeah is it on a micro-proc micro-processor based or uh Paula Diana: I don't know, but I'll find out more at our next Jetta Creek: Okay, Paula Diana: meeting. Jetta Creek: tha that would be great, so if you find out from the technology background, okay, so that would be good. Paula Diana: Sounds good. Florence Davis: Why was the plastic eliminated as a possible material? Paula Diana: Because um it gets brittle, cracks Florence Davis: Mm-hmm. Paula Diana: Um We want we expect these um uh these remote controls to be around for several hundred years. So. Good Florence Davis: Whic Dorothy Briggs: Wow, Paula Diana: ex Good Florence Davis: Which Paula Diana: expression. Dorothy Briggs: good expression. Well after us. Florence Davis: 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 Jetta Creek: So so you're not convinced about Dorothy Briggs: Actually, I'm Jetta Creek: the Dorothy Briggs: ready to Jetta Creek: the Dorothy Briggs: sell Jetta Creek: wood, Dorothy Briggs: it. Jetta Creek: yes. Paula Diana: you're what? Dorothy Briggs: I'm Florence Davis: I think Dorothy Briggs: ready to sell it. Florence Davis: if you re if you use Paula Diana: You Florence Davis: really Paula Diana: think? Florence Davis: good quality wood then it might work Dorothy Briggs: No Paula Diana: And Dorothy Briggs: y Florence Davis: but Paula Diana: you Florence Davis: you can't Paula Diana: could Dorothy Briggs: no Florence Davis: just use Paula Diana: you could Dorothy Briggs: no Paula Diana: sell Dorothy Briggs: no, Paula Diana: oils Dorothy Briggs: the o the Paula Diana: with Dorothy Briggs: only Paula Diana: it, Dorothy Briggs: w Paula Diana: to Dorothy Briggs: the Paula Diana: take Dorothy Briggs: only Paula Diana: care Dorothy Briggs: wood Paula Diana: of it. Dorothy Briggs: you can use are the ones that are hard, extremely Florence Davis: Yeah, Dorothy Briggs: hard Florence Davis: exactly, Dorothy Briggs: wood, but Florence Davis: yeah. Dorothy Briggs: there are some very pretty woods out there. Paula Diana: Well I'm glad Dorothy Briggs: That's actually Paula Diana: you Dorothy Briggs: very innovative idea. Paula Diana: Okay, good. Sorr having a hard time keeping wi control over my face. Dorothy Briggs: Well it's actually very n Paula Diana: Mm-hmm. Florence Davis: The stain. Dorothy Briggs: I mean it's each person is gonna have their own personalised, individualised speech recognition remote Paula Diana: Mm. Dorothy Briggs: control in wood, that's not on the market. Jetta Creek: Yeah, so it it's looks good the the design the functional design uh, what about yo you? Florence Davis: Um, in terms of comments on this or Jetta Creek: Yes, Florence Davis: in terms of my Jetta Creek: in t Florence Davis: own Jetta Creek: yes, Dorothy Briggs: In turns of wow. Jetta Creek: in term in terms of comments first Paula Diana: She works in the cubicle next to Dorothy Briggs so she's uh she was already a little bit prepared Florence Davis: Y Paula Diana: for this. Florence Davis: yeah. Paula Diana: Luckily Ed was not. Dorothy Briggs: Wood? Florence Davis: 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 Paula Diana: Mm-hmm. Florence Davis: of having Paula Diana: Yeah, you wouldn't wanna have Florence Davis: uh Paula Diana: to have splinters in your Florence Davis: Yeah, Paula Diana: hand while you're Florence Davis: for Paula Diana: using Florence Davis: example. Paula Diana: your Florence Davis: So, have to see how kid-friendly it is and and all that, but Paula Diana: It's really good if your dog gets ahold of it, they can use it for teething. Dorothy Briggs: They do that anyway with the rubber and plastic, so, Paula Diana: Yeah, Dorothy Briggs: and Paula Diana: they do it with other Dorothy Briggs: chew Paula Diana: materials Dorothy Briggs: 'em up. Paula Diana: as well, yeah. Dorothy Briggs: And chew 'em up. Jetta Creek: Okay then, uh, let's move to Agnes. Florence Davis: Sure. Paula Diana: Oh, I'm sorry. Jetta Creek: S you're Jetta Creek: You are in participant Florence Davis: One point three, Jetta Creek: three. Florence Davis: yeah Uh, yeah. Jetta Creek: This one? Florence Davis: 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, Paula Diana: Right, my hand Florence Davis: you have Paula Diana: is Florence Davis: a wider Paula Diana: uh different Florence Davis: remote Paula Diana: size Florence Davis: control. Paula Diana: than yours for example. Florence Davis: 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 Paula Diana: Mm-hmm. Florence Davis: 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 Paula Diana: Mm-hmm. Florence Davis: 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 Dorothy Briggs. 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 Paula Diana: Mm. Florence Davis: want to use their voice, they can just turn it off and you don't have the remote control Paula Diana: Mm-hmm. Florence Davis: 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, Dorothy Briggs: No. Florence Davis: 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 Paula Diana: A Florence Davis: different. Paula Diana: hinge. Be like a copper hinge or Florence Davis: Yeah. Paula Diana: you know. Florence Davis: 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 Paula Diana: Mm-hmm. Florence Davis: of the remote control, you don't want it to start getting too heavy. Paula Diana: Mm. Florence Davis: 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, Paula Diana: Mm-hmm, Florence Davis: depending on personal Paula Diana: mm-hmm. Florence Davis: preferences. Dorothy Briggs: Hmm. Florence Davis: 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 Paula Diana: Mm-hmm. Florence Davis: remote control, the number pad a little bit lower 'cause it's used Paula Diana: Mm. Florence Davis: less frequently. Paula Diana: Mm-hmm. Florence Davis: 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. Jetta Creek: So what's your, uh, the comments or uh s Dorothy Briggs: Simple design. It's what consumers want. Jetta Creek: Okay Dorothy Briggs: It's almost like, Houston, we have a product here. Problem is obviously gonna be cost. Florence Davis: Mm-hmm. Dorothy Briggs: Okay, I also have a f very simple presentation, Jetta Creek: Mm-hmm. Dorothy Briggs: because for the marketing point you have to see Jetta Creek: Yeah. Dorothy Briggs: what the consumers want. Florence Davis: Yeah. Dorothy Briggs: I also have uh copied a different type of remote. If you can find Dorothy Briggs, where I'm at. There should only be one in here. trend watch. Paula Diana: Sure. Dorothy Briggs: 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. Paula Diana: No, f Florence Davis: No, no. Paula Diana: go to findings. Dorothy Briggs: 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 Florence Davis: Mm-hmm. Dorothy Briggs: the little flip-up, if you have a little display on the flip-up that when you close it everything is locked. Florence Davis: Yeah. Dorothy Briggs: Maybe the display also makes it easier to use, because sometimes when you're looking for buttons, maybe if you see a display Paula Diana: Context-sensitive instructions, Florence Davis: Right. Dorothy Briggs: Okay Paula Diana: depending on what the tel what mode the T_V_ or the D_V_D_ or something Dorothy Briggs: Because Paula Diana: else Dorothy Briggs: I've Paula Diana: is Dorothy Briggs: seen Paula Diana: in. Florence Davis: Especially you Dorothy Briggs: mostly Florence Davis: might need something Dorothy Briggs: the standard Florence Davis: like that for Dorothy Briggs: ones, Florence Davis: training Dorothy Briggs: yeah. Florence Davis: the speech recognition Dorothy Briggs: Now you have it now you Florence Davis: and Dorothy Briggs: have one with the very simple also. The idea is simple, but with a display, Florence Davis: Mm-hmm. Dorothy Briggs: so you can see what you're doing. So maybe if we can incorporate the easiness of use, Florence Davis: Mm-hmm. Dorothy Briggs: trendy, fancy, feels good, uh with a display, wood, designer wood, designer colours, Paula Diana: You Dorothy Briggs: we Paula Diana: know, Dorothy Briggs: might've Paula Diana: maybe what you could do is when somebody orders the device Paula Diana you could send them like um a uh uh b some sort of a foam rubber um ball, Florence Davis: Oh yeah. Paula Diana: and then they would squeeze it, and it would take the shape of their hand. Florence Davis: Yeah, so it's really molded to Paula Diana: To t Florence Davis: to your specific Dorothy Briggs: Mm-hmm. Paula Diana: an and then you would know like um what the geometry of their hands would be and uh Dorothy Briggs: How hard they squeeze? Paula Diana: Yes Dorothy Briggs: Resistance Paula Diana: you'd know what kind Dorothy Briggs: resistance, Paula Diana: of wood to get. Dorothy Briggs: right. Florence Davis: But th for that you'd also have to do sort of an average across families and Paula Diana: That's Florence Davis: things like Paula Diana: right, Florence Davis: that Paula Diana: that's Florence Davis: if Paula Diana: right, you wouldn't Florence Davis: unless Paula Diana: wanna go Florence Davis: everyone Paula Diana: too far Florence Davis: has their Paula Diana: down Florence Davis: own Paula Diana: that. Florence Davis: personal remote. Paula Diana: Oh that that actually would uh increase the um the revenues Florence Davis: The sales, Paula Diana: we could expect, Florence Davis: yeah. Jetta Creek: The Paula Diana: yeah. Jetta Creek: Yeah. I hope so. Dorothy Briggs: No, but incorporating the three uh obviously it'd be something totally new on the market, Florence Davis: Yeah. Dorothy Briggs: totally different and from Florence Davis: Well, already the customisability is a really good sort of new Dorothy Briggs: Although, what Florence Davis: gimmick. Dorothy Briggs: it was it uh it was uh Nokia that came out with this changeable colours. Paula Diana: Mm-hmm. Dorothy Briggs: Right, Florence Davis: Yeah. Dorothy Briggs: you take it apart, and put on another Florence Davis: Yeah. Dorothy Briggs: face, take it off and put on another Paula Diana: Right, Dorothy Briggs: face Paula Diana: mm. Dorothy Briggs: and Florence Davis: And Dorothy Briggs: then Florence Davis: that took off, Dorothy Briggs: they sold Florence Davis: yeah, Dorothy Briggs: millions, Florence Davis: yeah. Dorothy Briggs: millions. So. So say with the f with the findings, with the research, easy to use something totally new. Florence Davis: Mm-hmm. Dorothy Briggs: We have to come up with something totally new that is not on the market. Paula Diana: 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. Jetta Creek: Yeah. Paula Diana: 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. Florence Davis: Mm-hmm. Jetta Creek: Yeah, but we can get a production in, uh, countries like, uh, Paula Diana: Cost Jetta Creek: India Paula Diana: of living is Jetta Creek: yes, Paula Diana: low. Jetta Creek: yes, countries like India or China or Malaysia, so you can go a better features and better price and you can sell more. So Paula Diana: Good, well th that'd be something that manufacturing would have to Jetta Creek: Yeah, Paula Diana: um Jetta Creek: yeah, so Paula Diana: explore more Florence Davis: Mm yeah. Paula Diana: and Jetta Creek: Yes. Dorothy Briggs: Where Paula Diana: to Dorothy Briggs: w Where Paula Diana: where Dorothy Briggs: it would be manufactured Paula Diana: Mm-hmm. Dorothy Briggs: is is Jetta Creek: So Dorothy Briggs: another step. Jetta Creek: Yeah, Paula Diana: Yeah. Jetta Creek: so Dorothy Briggs: We're here to design, Jetta Creek: Yes uh, but uh Dorothy Briggs: come up Jetta Creek: that Dorothy Briggs: with Jetta Creek: that Dorothy Briggs: a nice Jetta Creek: we Dorothy Briggs: product. Jetta Creek: can that we can Florence Davis: Mm-hmm. Jetta Creek: talk about the production later, okay, depends on the the quantity, okay. Paula Diana: Mm-hmm. Jetta Creek: 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 Florence Davis: Mm-hmm. Jetta Creek: or without display or just a simple, so Florence Davis: 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. Jetta Creek: Yeah. Paula Diana: Hmm. Florence Davis: So, if we're trying to keep costs down, then maybe sacrificing the display Paula Diana: Hmm. Florence Davis: is a way to go. I mean it depends on how much putting a display costs and Paula Diana: Hmm. Florence Davis: what it would be used for very specifically what it would be used for, Paula Diana: Mm-hmm. Florence Davis: '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. Paula Diana: 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 Dorothy Briggs: No. Paula Diana: uh? Dorothy Briggs: No Paula Diana: Do Dorothy Briggs: no Paula Diana: you wanna take an action Dorothy Briggs: p spec Paula Diana: item Dorothy Briggs: It's Paula Diana: to go find out? Dorothy Briggs: 'cause we have to find out cost on it. Paula Diana: Okay. Sorry Dorothy Briggs: Um, Paula Diana: about that. Dorothy Briggs: no that's no problem. I'm here for the pushing it after it's made. Jetta Creek: Yes. Dorothy Briggs: I will market it. Once we get a price on it then we can market it. Paula Diana: 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. Florence Davis: Mm-hmm. Paula Diana: A customisable and Dorothy Briggs: Nice beautiful mahogany Florence Davis: What about Dorothy Briggs: red Florence Davis: the Dorothy Briggs: wooden Florence Davis: buttons, Dorothy Briggs: case. Florence Davis: would Would the buttons be wood too, or Paula Diana: Uh I don't think so, Jetta Creek: I don't think so. Paula Diana: no, I think they could be rubber Jetta Creek: Yes. Paula Diana: like they are now, Jetta Creek: Yes. Paula Diana: so you have that Jetta Creek: Don't Paula Diana: tactile Jetta Creek: looks nice Paula Diana: experience Jetta Creek: uh. Paula Diana: of Jetta Creek: 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. Florence Davis: Mm-hmm. Jetta Creek: Okay. So maybe what you can do is uh, both of you, you can come up with the the prototype, okay, the model. Florence Davis: Okay. Jetta Creek: Okay? Florence Davis: Sure. Paula Diana: So um are we done with this meeting? Jetta Creek: 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. Paula Diana: And a marketing Jetta Creek: An Paula Diana: strategy. Jetta Creek: and the marketing Dorothy Briggs: And Jetta Creek: strategy, Dorothy Briggs: marketing strategy, Jetta Creek: that's very Dorothy Briggs: thank Jetta Creek: important, Dorothy Briggs: you. Jetta Creek: okay. Yes. How much Dorothy Briggs: Fired. Jetta Creek: 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? Florence Davis: No. Jetta Creek: So, by next meeting, so, please come up with the the prototype, okay, then uh, then we can proceed from there. Florence Davis: Okay. Jetta Creek: It's okay? Florence Davis: Mm-hmm. Jetta Creek: So thanks for all your uh efforts and coming for the meeting again, and see you soon then. Florence Davis: Okay. Jetta Creek: Okay? Thank you.

Paula Diana 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. Florence Davis gave her presentation on the user interface concept for the product, and gave a basic layout of the remote's key functions. Dorothy Briggs 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. Paula Diana and Florence Davis were instructed to begin building a prototype, and Dorothy Briggs was instructed to work on the marketing strategy as well as research the cost of the display component.

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Sharon Prestridge: I'm Mary Orange: Welcome Sharon Prestridge: sorry Mary Orange: back. Sharon Prestridge: to be late. Mary Orange: Welcome back everybody. Monica Jefferson: Yeah. Thanks. Mary Orange: 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. Sharon Prestridge: Agnes, yes. Mary Orange: 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. Monica Jefferson: Mm, okay. Mary Orange: So I handle to Monica Jefferson: I've done presentation, but it pretty much covers work that we've both done, so if I'm missing anything, Christine Mary Orange: So Monica Jefferson: can Mary Orange: shall Monica Jefferson: just Mary Orange: I go to Sharon Prestridge: Uh thank Monica Jefferson: correct Mary Orange: sorry. Sharon Prestridge: you, Monica Jefferson: Debra Rich. Sharon Prestridge: so you did a Mary Orange: Yep. Sharon Prestridge: PowerPoint Mary Orange: S Sharon Prestridge: presentation, good for you. Mary Orange: Okay, let's go to A_M_I_. Monica Jefferson: It's not the biggest PowerPoint presentation in the world, but Mary Orange: So in two or three or Monica Jefferson: Three. Um. No Debra Rich: Probably. Monica Jefferson: it's think it's the last Debra Rich: Technical Monica Jefferson: one. Debra Rich: pa I would think. Monica Jefferson: No, then this is the la yeah, that Debra Rich: Ha. Monica Jefferson: one, final design. Mary Orange: Yeah. Monica Jefferson: It is named appropriately, you just couldn't see the name. Um okay I have Mary Orange: Yes. Monica Jefferson: 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. Mary Orange: Mm-hmm. Monica Jefferson: So. Sharon Prestridge: Um and uh Monica Jefferson: Oh Sharon Prestridge: I Monica Jefferson: yes. Sharon Prestridge: could Yeah the Monica Jefferson: Additional Sharon Prestridge: d Monica Jefferson: 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. Sharon Prestridge: 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 Monica Jefferson: Yeah. Mary Orange: I think the microphone is on on the top, uh Sharon Prestridge: Yes, Mary Orange: on the middle, Sharon Prestridge: okay. Mary Orange: the under the flip. Sharon Prestridge: Uh-huh. Mary Orange: So that will be the safe, so p any the chip it's not on the chip because you need to have microphone to Sharon Prestridge: No, I mean it depends on the design of the circuit board. Mary Orange: Yes. Monica Jefferson: But it shouldn't be under the flip either, because you can have the remote control closed, but you still might want to Mary Orange: Uh it's Monica Jefferson: activate Mary Orange: it's Monica Jefferson: it by voice. Mary Orange: 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. Monica Jefferson: 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. Sharon Prestridge: Maybe I've got my hand in the popcorn bowl and I'm holding my cup of Coca-Cola in the other hand. Monica Jefferson: Yeah. And you Debra Rich: I Monica Jefferson: don't Debra Rich: don't Monica Jefferson: wanna let Debra Rich: wanna Monica Jefferson: go Debra Rich: say. Monica Jefferson: of either one. Debra Rich: Louder. Yeah. Monica Jefferson: I mean it doesn't have to be on the flip, it can be on the side Debra Rich: Can Monica Jefferson: somewhere. Debra Rich: also be on the side. Mary Orange: Yeah, the sides maybe Monica Jefferson: Yeah. Mary Orange: is good. So That's good idea. Sharon Prestridge: Mm-hmm. Monica Jefferson: So, I mean I can pass this around if Mary Orange: Yes. Monica Jefferson: anyone Mary Orange: So it's Monica Jefferson: wants Mary Orange: maybe good Monica Jefferson: to Mary Orange: idea. Sharon Prestridge: Yeah, y better you pass it around with a napkin. Debra Rich: No, because y you can easily put a microphone on the side that would have Monica Jefferson: Yeah. Debra Rich: no problem Mary Orange: Yes. Debra Rich: would haven't been not be damaged or anything, and it'd Mary Orange: Yeah. Debra Rich: be accessible all the time to voice. Monica Jefferson: Yeah, exactly. Debra Rich: Yeah. Mary Orange: So it's maybe good idea. S s Sharon Prestridge: It's um Debra Rich: Compliments to the artist. Sharon Prestridge: It's um You need to work on the weight a little bit. Monica Jefferson: Yes. Debra Rich: Uh. Mary Orange: Okay. S I'm Monica Jefferson: And maybe Mary Orange: fine, Monica Jefferson: the shape Mary Orange: I'm satisfi Monica Jefferson: of the buttons, the little Mary Orange: I'm satisfied. Monica Jefferson: egg shapes aren't the most economical, Sharon Prestridge: We're glad Mary Orange: Of course Sharon Prestridge: you're Mary Orange: it's Sharon Prestridge: satisfied. Monica Jefferson: but Mary Orange: it's it's looks more heo heavy, but I think when it's completely maybe it's a less weight. Monica Jefferson: Yeah. I mean this is plasticene. There's Mary Orange: Yes. Monica Jefferson: 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. Sharon Prestridge: Mm-hmm. Monica Jefferson: So I mean maybe this is excessively heavy, but I think it needs to have some weight, it needs Mary Orange: Yep. Monica Jefferson: to feel like you're still holding something. So that's pretty much it for our presentation actually. Mary Orange: That's your uh prototype model? Monica Jefferson: Yeah. Mary Orange: Okay, that's good, thank you very much. So any comments or uh Debra Rich: Well, the prototype is very within the design and ideas that we've we've about on previous meetings. Mary Orange: Okay. Debra Rich: Now it goes into this next phase as the financial Mary Orange: Yes, that Debra Rich: uh marketing Mary Orange: uh Debra Rich: uh Mary Orange: So I'll come back to the Mary Orange: 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. Sharon Prestridge: Yes, great I I'm surprised. Congratulations. Mary Orange: Than thank you. Debra Rich: Well we haven't come to mine yet, so Sharon Prestridge: Oh, okay. Debra Rich: we're Sharon Prestridge: It's Debra Rich: gonna have a Sharon Prestridge: gonna Debra Rich: bit Sharon Prestridge: cost Debra Rich: of Sharon Prestridge: a Debra Rich: difference Sharon Prestridge: long Debra Rich: of opinion, Sharon Prestridge: way Debra Rich: yes. Sharon Prestridge: to c you know, cost a lot of money to market it, is it? Mary Orange: So maybe it's for some money we can utilise for our uh marketing, for the sales, okay, and uh Debra Rich: 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, Monica Jefferson: No Debra Rich: it's gonna Monica Jefferson: we do, Debra Rich: be Monica Jefferson: but it's not filled in. It's Debra Rich: It's Mary Orange: It's Debra Rich: not Monica Jefferson: number Debra Rich: it doesn't Monica Jefferson: thirty. Sharon Prestridge: Thirty. Debra Rich: say. Mary Orange: not. Debra Rich: We don't Mary Orange: Yeah. Debra Rich: have the price Monica Jefferson: Oh, Debra Rich: up Monica Jefferson: yeah, Debra Rich: there, Mary Orange: Yeah. Monica Jefferson: yeah, you're Mary Orange: Yeah. Debra Rich: okay, Monica Jefferson: right, sorry, Sharon Prestridge: Yeah. Mary Orange: Yeah. Monica Jefferson: yes. Debra Rich: 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. Sharon Prestridge: So that Debra Rich: Um Sharon Prestridge: means we can put the uh Debra Rich: Display Sharon Prestridge: the L_C_D_ Debra Rich: in. Sharon Prestridge: in, yeah. Debra Rich: 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 Mary Orange: Yes, so still uh we have twelve point five Debra Rich: And Mary Orange: Euro. Debra Rich: that will inflate Mary Orange: Yes. Debra Rich: quite a bit the cost of the uh Mary Orange: Yeah, Debra Rich: the Mary Orange: but Debra Rich: cost of the unit Mary Orange: Yes. Debra Rich: for the company. Mary Orange: Yep. Monica Jefferson: Um-hmm. Debra Rich: So to come up with what the company wants is a fifty million Pound profit, we're gonna have to go a long ways. Mary Orange: Yes. This we are talking about one unit, okay, so Debra Rich: Yes. Mary Orange: when it go into the quantity, okay, and the cost will come down. Debra Rich: Slightly. Sharon Prestridge: Although customisation, because this is being done, you know, the on on-order basis, Mary Orange: Yeah. Debra Rich: It's Sharon Prestridge: it Debra Rich: gonna Sharon Prestridge: might Debra Rich: be very Sharon Prestridge: be Debra Rich: hard Sharon Prestridge: uh Debra Rich: to Sharon Prestridge: the the quantity Monica Jefferson: Yes. Debra Rich: reduce. Sharon Prestridge: 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. Debra Rich: That's Sharon Prestridge: That's Debra Rich: not bad. Sharon Prestridge: really that's the cost of the material Mary Orange: Yep. Sharon Prestridge: and lab wow, that's Mary Orange: Yeah. Sharon Prestridge: really outstanding. Mary Orange: 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. Debra Rich: If we can go to to my display. And we'll come back to yours Mary Orange: Yes. Debra Rich: 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. Mary Orange: You're in four? Debra Rich: Yep. The four gives Debra Rich it's gotta be uh Mary Orange: TrendWatch. Debra Rich: TrendWatch. Sharon Prestridge: Is this the same one you did before? Debra Rich: No. Sharon Prestridge: Okay. Debra Rich: It shouldn't be if Monica Jefferson: That's Debra Rich: it's not it's not the right one. Monica Jefferson: no, Debra Rich: No, Monica Jefferson: I think Debra Rich: no Monica Jefferson: it's the Debra Rich: we Monica Jefferson: same Debra Rich: g Monica Jefferson: one. Debra Rich: no, that's the same one. You have to go back and find another one. Whatever name it popped up under. Uh Monica Jefferson: Functional. Debra Rich: functional, try functional, it might not be it either, but we'll see. Monica Jefferson: It looks like it, there's Debra Rich: Yep, that's Monica Jefferson: S Debra Rich: it. Monica Jefferson: Yeah. Debra Rich: So we'll go screen by screen. Mary Orange: Okay. Debra Rich: 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. Mary Orange: Yep. Debra Rich: 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, Mary Orange: Mm-hmm. Debra Rich: which is actually a tremendous amount. Sharon Prestridge: Yeah, no kidding. Debra Rich: No kidding, yeah. Sharon Prestridge: Mayb maybe they already expected Debra Rich: So, Sharon Prestridge: something. Debra Rich: 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, Mary Orange: Yes. Debra Rich: okay, with transport, promotion, labour, because we hav gi included the promotion in the cost, Monica Jefferson: Um-hmm. Debra Rich: 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 Mary Orange: Mm-hmm. Debra Rich: Euro profit. Mary Orange: Yep. Debra Rich: 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 Mary Orange: Yes. Debra Rich: there's no more interest in buying this thing in eighteen months from now. Mary Orange: Yep. Debra Rich: So, Mary Orange: Of Monica Jefferson: Mm. Mary Orange: course. Debra Rich: now we have to come up with a decision. Can the company sell two million units? Mary Orange: Yep. Debra Rich: Can it sell it for Sharon Prestridge: Could Debra Rich: fifty Euros? Mary Orange: Yep. Sharon Prestridge: 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 Mary Orange: Yes. Monica Jefferson: I was thinking the same Sharon Prestridge: for Monica Jefferson: thing, Sharon Prestridge: promotion Monica Jefferson: yeah. Sharon Prestridge: and ordering and then to drop-ship the p product to the customer's Monica Jefferson: Directly. Sharon Prestridge: residence. That way you have no storage, you have no um you do have transportation, Monica Jefferson: Um-hmm. Sharon Prestridge: still have the labour cost, but you don't have the transport to the uh point of sale. Mary Orange: Yes. Monica Jefferson: Yeah. Sharon Prestridge: The point of sale is Mary Orange: To the Sharon Prestridge: online. Mary Orange: agents. Monica Jefferson: Yeah. You can do a shipping centre somewhere, or strategically place shipping centres Sharon Prestridge: Right, Monica Jefferson: to minimise Sharon Prestridge: like Amazon. Monica Jefferson: distance Sharon Prestridge: In fact, Monica Jefferson: costs. Sharon Prestridge: we Mary Orange: Yes. Sharon Prestridge: should sell through Amazon, don't you Mary Orange: Or Sharon Prestridge: think? Mary Orange: eBay, or Sharon Prestridge: Or eBay, yeah. Mary Orange: Yes. Monica Jefferson: Yeah. Sharon Prestridge: There's an idea. Going Mary Orange: Yeah, that's a good Sharon Prestridge: with Mary Orange: idea. Sharon Prestridge: um Mary Orange: To impro more profit Debra Rich: S Mary Orange: and Debra Rich: Upscale Mary Orange: uh Debra Rich: technology. Mary Orange: Yeah, yes. Sharon Prestridge: Ah, we we're do you know, selling a Debra Rich: Well. Sharon Prestridge: unique product uh. Monica Jefferson: 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 Sharon Prestridge: Mm. Monica Jefferson: the range of possibility Debra Rich: There are several Monica Jefferson: as, Debra Rich: companies Monica Jefferson: whereas Debra Rich: that Monica Jefferson: if Debra Rich: have gone Monica Jefferson: you're Debra Rich: that Monica Jefferson: in a store, Debra Rich: way. Sharon Prestridge: Mm. Monica Jefferson: 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 Sharon Prestridge: Mm-hmm. Monica Jefferson: of pictures, it can sort of trigger ideas and Sharon Prestridge: And you can even have an a movie that you can rotate the object and look at the Monica Jefferson: Yeah. Sharon Prestridge: di the only thing that you're missing really is the Monica Jefferson: The Sharon Prestridge: weight. Monica Jefferson: weight Debra Rich: Weight, Monica Jefferson: and feel. Debra Rich: the feel of the Sharon Prestridge: Mm. Debra Rich: product, Monica Jefferson: Yeah. Debra Rich: but Sharon Prestridge: We're getting used to that. It's not quite like trying on a shoe, but people Monica Jefferson: Yeah. Sharon Prestridge: are getting used to buying things online that they can't touch Monica Jefferson: Yeah. Sharon Prestridge: before Debra Rich: There are several Sharon Prestridge: buying. Debra Rich: that have gone through with the watches, too. You can customise a watch, you can see how it is at the f Monica Jefferson: Mm-hmm. Debra Rich: at the end of the production, Sharon Prestridge: Uh-huh. Debra Rich: you can change it uh There's a lot of online that's that is doing Monica Jefferson: Yes. Debra Rich: this now. And when you're rotating, you'll look behind and look this way uh it's possible to do with this, Mary Orange: Yeah. Debra Rich: know, feasibili feasibility uh lower the price of the unit. Monica Jefferson: Mm-hmm. Mary Orange: We can. Sharon Prestridge: Great. Mary Orange: 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. Monica Jefferson: What turnaround time do we have? Mary Orange: T Monica Jefferson: 'Cause I mean production evaluation can Mary Orange: Oh Monica Jefferson: be Mary Orange: but Monica Jefferson: very very quick or very very Mary Orange: Yes Monica Jefferson: long. Mary Orange: it's it's very quick, of course. It will uh come back in two weeks, okay, it will be ready in two weeks. Sharon Prestridge: Works for Debra Rich. Mary Orange: For evaluation, okay. Sharon Prestridge: Prototypes, you mean. Mary Orange: Yes, the Sharon Prestridge: In Mary Orange: prototype Sharon Prestridge: um Mary Orange: uh prototype product evaluation. Sharon Prestridge: We probably should do some market tests Mary Orange: Yes. Sharon Prestridge: uh once we have the prototypes Debra Rich: Well, obviously. Mary Orange: Yes. Sharon Prestridge: and do some orders Monica Jefferson: Yeah. Sharon Prestridge: and things like Mary Orange: Yes. Sharon Prestridge: that and test-market it. Debra Rich: Mm that'd Mary Orange: Yeah. Debra Rich: have to be thrown out on the market for people to get an idea, to Mary Orange: So Debra Rich: see Mary Orange: you can take Debra Rich: get Mary Orange: a Monica Jefferson: Mm-hmm. Mary Orange: minimum two Debra Rich: get Mary Orange: weeks Debra Rich: their Mary Orange: to a maximum four weeks. Yeah. Monica Jefferson: it's not a trivial task. Mary Orange: Yeah, because we we are not going to do it in uh our factory, okay, so we can Monica Jefferson: No Mary Orange: give it Monica Jefferson: no. Mary Orange: a product Monica Jefferson: We Mary Orange: evalua Monica Jefferson: definitely shouldn't do it Mary Orange: Yes, Monica Jefferson: in our factory. Mary Orange: 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? Sharon Prestridge: Any outstanding? Mary Orange: S Any any other uh questions or uh comments to be discuss? Sharon Prestridge: No, Monica Jefferson: What ab Sharon Prestridge: I'm Debra Rich: I think we Sharon Prestridge: go Debra Rich: pretty Sharon Prestridge: ahead. Debra Rich: much covered everything. Mary Orange: Okay, so then Sharon Prestridge: Did you Mary Orange: uh Sharon Prestridge: have something? Monica Jefferson: 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. Mary Orange: 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 Sharon Prestridge: Second generation. Mary Orange: second generation. Okay. There's no end, there's not limit. Monica Jefferson: The problem is there Mary Orange: Every Monica Jefferson: might not Mary Orange: every Monica Jefferson: be a second Mary Orange: custom Monica Jefferson: generation if the first generation Debra Rich: Well, then it Monica Jefferson: flops Debra Rich: may not be. Monica Jefferson: for some silly reason Mary Orange: Okay. Well, every Monica Jefferson: that Mary Orange: customer, Monica Jefferson: we haven't thought Mary Orange: okay, Debra Rich: Like Monica Jefferson: of. Debra Rich: people Mary Orange: they have Debra Rich: don't Mary Orange: their Debra Rich: like Mary Orange: own Debra Rich: wood. Mary Orange: ideas, they have their own test, okay, so there's no end, there's no limit. Monica Jefferson: 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 Debra Rich: very Monica Jefferson: it Debra Rich: specific. Monica Jefferson: up. Mary Orange: Yeah, so that's the reason you are here for uh the design, okay, I hope you made a Monica Jefferson: Yes, Mary Orange: good design. Monica Jefferson: 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. Mary Orange: 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. Monica Jefferson: 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 Mary Orange: Yes. Monica Jefferson: in the project Sharon Prestridge: Our Monica Jefferson: we Sharon Prestridge: project Monica Jefferson: have no Mary Orange: Yeah. Sharon Prestridge: doesn't Monica Jefferson: redesign time Sharon Prestridge: um Monica Jefferson: and Sharon Prestridge: 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? Debra Rich: Hmm. Sharon Prestridge: Would it be the Christmas season by any chance? Mary Orange: The sports time. Sharon Prestridge: Sports season. Debra Rich: Right before Sharon Prestridge: Which Debra Rich: the Eur Sharon Prestridge: sport Debra Rich: the Sharon Prestridge: season? Debra Rich: World Cup. Mary Orange: Football. Debra Rich: World Sharon Prestridge: So Monica Jefferson: Yeah. Debra Rich: soccer. Sharon Prestridge: so Debra Rich: World Cup soccer, they need those things Mary Orange: Football. Debra Rich: that they have Sharon Prestridge: maybe Debra Rich: their hands Sharon Prestridge: what Debra Rich: g occupied and they need to be able to talk to the con remote control. Sharon Prestridge: So I think what we need to do is perhaps to synchronise the final the the launch of a user-tested Mary Orange: Yes. Sharon Prestridge: device with some special event. Mary Orange: Yes. Monica Jefferson: Yeah, that's Sharon Prestridge: And Monica Jefferson: a good idea. Sharon Prestridge: 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. Debra Rich: Or any major sports. Sharon Prestridge: 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 Mary Orange: Yes. Monica Jefferson: Yeah. Sharon Prestridge: um, but, so, I'm just ig uh pointing out a uh a strategy to uh do some additional user testing Mary Orange: Research. Monica Jefferson: Mm-hmm. Sharon Prestridge: pri and then to launch um at a a major sports event or Mary Orange: Yep. Sharon Prestridge: uh perhaps to uh Monica Jefferson: That's Sharon Prestridge: also Monica Jefferson: actually good place to advertise it too. Sharon Prestridge: And to work with Monica Jefferson: Yeah. Sharon Prestridge: 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 Mary Orange: Yes. Sharon Prestridge: for example. Maybe Monica Jefferson: Mm-hmm. Sharon Prestridge: some management has got uh relationships there we can leverage. Mary Orange: Yes, the that of course uh I will convince the management to do that, okay. Sharon Prestridge: That's great. Monica Jefferson: It's just something to to keep in mind, 'cause it's really really important. Mary Orange: Sure, sure, Monica Jefferson: A lot of products have Mary Orange: yes. Monica Jefferson: 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. Sharon Prestridge: Disposable diapers is an example of that in fact. Monica Jefferson: Really? Sharon Prestridge: Yes, Monica Jefferson: That I didn't Sharon Prestridge: it is one of Monica Jefferson: know. Sharon Prestridge: 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, Monica Jefferson: Mm-hmm. Sharon Prestridge: '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, Monica Jefferson: Yeah. Sharon Prestridge: you're right, timing is very important, Mary Orange: Yeah. Sharon Prestridge: a good product. Monica Jefferson: Yeah. Mary Orange: That's the reason Ed is here. I Sharon Prestridge: That's Mary Orange: think he Sharon Prestridge: right. Mary Orange: can promote the the brand value and the product value. Sharon Prestridge: It's gonna be very important to the Mary Orange: Yes. Sharon Prestridge: company. Mary Orange: We are behind the scene and he is the front screen, so. Monica Jefferson: Yep. Debra Rich: Yeah, I'm the one Mary Orange: He's Debra Rich: who takes Mary Orange: on Debra Rich: the Mary Orange: the Debra Rich: heat. Mary Orange: big screen. Monica Jefferson: Exactly. Sharon Prestridge: Good luck, Ed. Debra Rich: If it's a flop, it's the marketer. Sharon Prestridge: You look very relaxed, Debra Rich: Yes. Sharon Prestridge: considering h you know, the Debra Rich: Yes. Sharon Prestridge: uh Debra Rich: Stress. Sharon Prestridge: the weight on your shoulders, yeah. Mary Orange: Okay, so then uh let's come to the closing and Debra Rich: Celebration. Mary Orange: 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. Sharon Prestridge: Sounds good. Mary Orange: 'S good. Monica Jefferson: Okay. Sharon Prestridge: Thank you. Debra Rich: Very good. Sharon Prestridge: Nice working with you. Debra Rich: Thank you very much. Mary Orange: Thank you. Monica Jefferson: Thanks. Mary Orange: Thank you again for all. And Debra Rich: Bye-bye. Mary Orange: see you in the evening for drinks. Debra Rich: Yep, okay, see Monica Jefferson: Bye. Debra Rich: you later on.

Monica Jefferson presented the prototype of the product to the group. The product featured an LCD display, a flip panel, and a customizable case back. Mary Orange 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. Mary Orange decided to negotiate the cost of production to allow the addition of the display. Debra Rich 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. Monica Jefferson expressed concern that there would not be time under the current plan to make changes to the product resulting from consumer testing; Mary Orange 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.

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Elizabeth Brito: Okay. Michele James: Okay. Elizabeth Brito: Everybody ready? Francis Dais: Yeah. Michele James: I think so. Elizabeth Brito: Uh I think the first do is introduce ourselves Michele James: Yeah that's a Elizabeth Brito: and Michele James: plan Elizabeth Brito: everybody's name and what your function is? So maybe we start Brenda Willis: Okay. Elizabeth Brito: with you? Brenda Willis: Yeah, my name is Francina. And an user interface my role is uh the main responsibility is user interface. Elizabeth Brito: Mm-hmm. Brenda Willis: And my role is to design uh a television remote control. Elizabeth Brito: Mm-hmm. Okay. Michele James: And I'm a marketing person. I wanna figure out how to sell them. Elizabeth Brito: Mm-hmm. And your name is? Michele James: My name is Eileen. Elizabeth Brito: Okay. Francis Dais: 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. Elizabeth Brito: Very good. And as you already know I am Betty. I am Elizabeth Brito for today. So why don't we look at the presentation to see what we really are supposed to do. Michele James: Okay. Elizabeth Brito: Um. Yes y opening, acquaintance, tool training well, I think, already I guess the tool is really our the computer, Michele James: Mm-hmm. Elizabeth Brito: 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. Michele James: No. Elizabeth Brito: 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, Michele James: Mm-hmm. Elizabeth Brito: trendy, and, of course, user friendly. So maybe you wanna make some notes of that. Michele James: Okay. Elizabeth Brito: Okay? Michele James: Mm-hmm. Elizabeth Brito: 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, Michele James: Mm 'kay so Elizabeth Brito: same thing basically. Michele James: Three different types of design that we're gonna be concerned with Elizabeth Brito: Mm-hmm. Michele James: okay. Elizabeth Brito: Mm-hmm. Michele James: Functional, conception and detailed. Elizabeth Brito: I can't write with this thing. Michele James: Maybe we should redesign it. Elizabeth Brito: Yes. Michele James: After we've finished the remote control we'll get to that. Elizabeth Brito: 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 Michele James: Okay, I'll see what I can do. Elizabeth Brito: Whether you without hanging yourself. Michele James: See if I remember how to draw a kitty cat or a rabbit or something. Elizabeth Brito: And remember you have to press so it works. Michele James: So that it will record Elizabeth Brito: Mm-hmm. Michele James: okay. Um uh um traditional kitty cat. Elizabeth Brito: Fat, a fat cat. Michele James: I've a very fat cat. And it likes to sit like that. Elizabeth Brito: Okay. Michele James: Okay. Elizabeth Brito: And you're Francine, Brenda Willis: Yes, Elizabeth Brito: right? Brenda Willis: I'm Elizabeth Brito: Would you Brenda Willis: Francina. Elizabeth Brito: like s like just to see Brenda Willis: Yes, Elizabeth Brito: um Brenda Willis: sure. Elizabeth Brito: how it feels, so that you have a little idea? Michele James: Am I supposed Elizabeth Brito: In Michele James: to wipe off that or Elizabeth Brito: No, no. No, that's okay. Brenda Willis: No, Okay. Michele James: okay. Elizabeth Brito: I don't know, we'll get to that later. Michele James: Okay. Brenda Willis: What should I draw? Francis Dais: Snake. Brenda Willis: I'm going to draw a snake. How does it look like? Michele James: Uh, okay. Elizabeth Brito: Okay. Okay. Michele James: I hope the kitty cat is hungry 'cause I don't like snakes. Elizabeth Brito: 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 Michele James: Mm-hmm. Elizabeth Brito: profit aim for the company is fifty million Euro, the market range unlimited meaning international Michele James: Okay. Elizabeth Brito: and the production cost should not exceed hopefully should be less than twelve fifty Euro. Michele James: Mm 'kay that should keep everybody on their toes and challenged. Elizabeth Brito: Mm-hmm. Michele James: Profit. Um Elizabeth Brito: So Michele James: is Elizabeth Brito: these Michele James: fifty Elizabeth Brito: are all things, of course, Michele James: mm. Elizabeth Brito: to remember with the budget and when you design to materials, cost, etcetera. Now, uh the Michele James: Oops. Elizabeth Brito: discussion I guess is um does anyone of you have experience with remote control? Francis Dais: Yeah, Elizabeth Brito: I Francis Dais: of Elizabeth Brito: exp Francis Dais: course, Elizabeth Brito: I Francis Dais: using Elizabeth Brito: s Brenda Willis: Yes. Elizabeth Brito: 'cause Francis Dais: remote Elizabeth Brito: we we Francis Dais: control. Elizabeth Brito: use 'em we use Francis Dais: Yeah. Elizabeth Brito: '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, Francis Dais: Uh. Elizabeth Brito: bigger, Brenda Willis: Yeah, Elizabeth Brito: have Brenda Willis: I Elizabeth Brito: more have more buttons on it or maybe clearly better marked buttons, you know, things Francis Dais: Yeah. Elizabeth Brito: like that? Francis Dais: Yeah. Brenda Willis: Yes, I I feel that all the remote should be very compact. Elizabeth Brito: Small, right. Brenda Willis: Yeah those, Elizabeth Brito: Mm-hmm. Brenda Willis: which we get here nowadays it's very long. Elizabeth Brito: Mm-hmm. Brenda Willis: 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 Elizabeth Brito: Mm-hmm. Brenda Willis: uh Francis Dais: Audio Brenda Willis: temperature Francis Dais: player. Brenda Willis: inside Francis Dais: Oh. Brenda Willis: the house or Francis Dais: Okay. Brenda Willis: for air-conditioners, or for heating system. Elizabeth Brito: So it should be a multi-functional Brenda Willis: Yes, Elizabeth Brito: uh Brenda Willis: exactly Elizabeth Brito: gadget that Brenda Willis: Yes. Elizabeth Brito: would Francis Dais: Hmm. Elizabeth Brito: um control all your household uh Brenda Willis: Yes. Elizabeth Brito: uh Francis Dais: Divides Elizabeth Brito: machines Francis Dais: us Elizabeth Brito: basically. Francis Dais: Yeah. Brenda Willis: Yeah. Exactly. Francis Dais: Yeah. Michele James: At um twelve fifty Euros per Elizabeth Brito: Well. Michele James: Well who knows if we get a really good designer maybe we Francis Dais: Yeah. Michele James: can do that. We certainly can try to I agree with her that to market something successfully it should do some more things. Elizabeth Brito: It should be something new it should be s it it should do something different than than just what Michele James: That's Elizabeth Brito: we have. Michele James: right. Francis Dais: Yeah, Elizabeth Brito: Now, Brenda Willis: Yeah. Elizabeth Brito: of Francis Dais: of Elizabeth Brito: course, Francis Dais: course. Elizabeth Brito: the other thing to think there is maybe the design. Brenda Willis: Yeah, design should be, yeah it should be different. All the almost all Elizabeth Brito: Like Brenda Willis: the Elizabeth Brito: trendy no like Brenda Willis: remotes Elizabeth Brito: f for earlier we saw maybe it should be something trendy you know. Francis Dais: Yeah Brenda Willis: Yes, Francis Dais: maybe, Brenda Willis: exactly. Elizabeth Brito: Maybe Francis Dais: ten Elizabeth Brito: it should Francis Dais: I Elizabeth Brito: different colours Francis Dais: do yeah, colours Elizabeth Brito: or materials Brenda Willis: Are Francis Dais: and Brenda Willis: different Francis Dais: al shapes Brenda Willis: shapes. Francis Dais: also. Elizabeth Brito: or Brenda Willis: Yes. Elizabeth Brito: you Francis Dais: Yeah. Elizabeth Brito: know. Um so yeah shapes right, you know, like kidney shape feels Brenda Willis: Yes. Elizabeth Brito: better in your hand or something, Francis Dais: Yeah of Elizabeth Brito: you Michele James: Yeah Elizabeth Brito: know. Francis Dais: course Michele James: okay, Francis Dais: yeah. Michele James: friendly shape, Elizabeth Brito: Yeah. Michele James: that would help. I think another thing that would help is Elizabeth Brito: Yes. Michele James: 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. Elizabeth Brito: That is true, because they put a newspaper or they put it behind Francis Dais: Yeah. Elizabeth Brito: a plant or, we you know, whatever. Michele James: Mm-hmm. Elizabeth Brito: 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? Michele James: So Elizabeth Brito: Well Michele James: some Elizabeth Brito: or yeah or if it's really, if it's really in a dark spot that it gives out a a sound Francis Dais: Yeah, some Elizabeth Brito: or a signal. Francis Dais: beep Michele James: Uh so, Francis Dais: or something Brenda Willis: Or a Elizabeth Brito: Yeah. Brenda Willis: b Francis Dais: like that, Michele James: so Elizabeth Brito: Mm-hmm. Francis Dais: so Michele James: it's Francis Dais: that Michele James: really Francis Dais: we can Michele James: the Francis Dais: go Elizabeth Brito: So Michele James: beep Elizabeth Brito: if Michele James: or, Elizabeth Brito: lost Michele James: or a light should blink. Elizabeth Brito: If lost Brenda Willis: Should Francis Dais: Yeah. Brenda Willis: ha Elizabeth Brito: uh Brenda Willis: A Elizabeth Brito: signal Brenda Willis: fluorescent Elizabeth Brito: with Brenda Willis: signal, Elizabeth Brito: b Brenda Willis: yeah. Elizabeth Brito: throw Michele James: Mm Elizabeth Brito: signal, Michele James: 'kay. Elizabeth Brito: you know. Francis Dais: Yeah, maybe it should have a light so that we can, we can just recognise where it is. Elizabeth Brito: Exactly, Francis Dais: Yeah, yeah. Elizabeth Brito: I mean just Francis Dais: May not Elizabeth Brito: that's Francis Dais: be Elizabeth Brito: what Francis Dais: beep. Elizabeth Brito: I'm saying. I'm just saying throw signal meaning just whether it's a beep Francis Dais: Beep Elizabeth Brito: or whether Francis Dais: or uh it's Elizabeth Brito: a Francis Dais: a Elizabeth Brito: light Francis Dais: light, Elizabeth Brito: or Francis Dais: maybe Michele James: And do Francis Dais: it's Michele James: you think Francis Dais: a light. Michele James: 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? Elizabeth Brito: 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, Michele James: Mm-hmm. Elizabeth Brito: uh meaning you know like a newspaper is on top, a sweater is on top or Michele James: Mm-hmm. Elizabeth Brito: 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? Michele James: Okay so Brenda Willis: Yes. Michele James: Okay. Francis Dais: Yeah, probably Elizabeth Brito: I mean, that we can Francis Dais: yeah, Elizabeth Brito: discuss Francis Dais: probably Elizabeth Brito: that Francis Dais: it's Elizabeth Brito: later, Francis Dais: a yeah, Elizabeth Brito: you know. Francis Dais: yeah. Brenda Willis: Yeah. And uh Michele James: So the light sensor would activate the signal. Elizabeth Brito: That's right. Francis Dais: Mm-hmm. Elizabeth Brito: 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 Michele James: Mm-hmm. Elizabeth Brito: can clap on and Brenda Willis: Yes. Elizabeth Brito: off, but I think they only work to certain degree and Michele James: But it could be someplace really obvious and you still wouldn't be able to find it. Francis Dais: Yeah, Elizabeth Brito: What Francis Dais: of course, Elizabeth Brito: with Francis Dais: that didn't Michele James: Well, Brenda Willis: Then, Michele James: because Brenda Willis: in that Michele James: you're s Brenda Willis: case Michele James: because Francis Dais: I i Michele James: you're Francis Dais: we Michele James: silly. Francis Dais: can't do Michele James: Because Francis Dais: it. Michele James: people are silly. Elizabeth Brito: Oh yeah well, but then Michele James: I mean Elizabeth Brito: those Michele James: it could Elizabeth Brito: people Michele James: be on Elizabeth Brito: we can't help everybody. Michele James: well, i if it were like on top of your bookcase and you usually kept it on the coffee table um, you know, Elizabeth Brito: Okay Michele James: well Elizabeth Brito: we have Michele James: maybe we Elizabeth Brito: uh Michele James: have to move along, Elizabeth Brito: yeah, Michele James: okay. Elizabeth Brito: we have to move along, but I think we have some good Francis Dais: Yeah, Elizabeth Brito: good points Francis Dais: good point. Elizabeth Brito: 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 Francis Dais: Michele James Elizabeth Brito: for Francis Dais: yeah. Elizabeth Brito: this? Okay so well, you got the notice Brenda Willis: Yes. Elizabeth Brito: um uh. The working design, I guess that's the function I_D_ uh who is this? Francis Dais Francis Dais: Yeah. Elizabeth Brito: That's you. Francis Dais: Yeah, it's functional de yeah, exactly, Elizabeth Brito: Okay. Francis Dais: technical. Elizabeth Brito: So, we looking for a working design when Francis Dais: Yeah. Elizabeth Brito: we come back. Francis Dais: Uh working design, yeah, it's it's uh mainly Elizabeth Brito: Then Francis Dais: technical-functional design. Elizabeth Brito: And then the technical funct you are the technical Francis Dais: Yeah, functional Elizabeth Brito: function, so Francis Dais: design, and you Elizabeth Brito: so you are the working design. So you Brenda Willis: Okay. Elizabeth Brito: 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. Michele James: Mm-hmm. Elizabeth Brito: I mean, the price is given, but, that was Michele James: We have to justify that Elizabeth Brito: That's Michele James: price Elizabeth Brito: right. Michele James: by having sufficient features to make it sell at that price. Elizabeth Brito: 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? Michele James: Mm. Elizabeth Brito: I think basically basically you will get instructions to work with and Brenda Willis: Okay. Elizabeth Brito: if you have any questions Francis Dais: Yeah. Elizabeth Brito: uh, uh I guess, you can uh Michele James: Okay, I think I have enough to think about 'til our next meeting. Elizabeth Brito: Mm-hmm. Francis Dais: Yeah, even Michele James: How about Francis Dais: I have. Michele James: you people? Francis Dais: Yeah, Brenda Willis: Yes. Michele James: Really? Francis Dais: even I have, Elizabeth Brito: Mm-hmm. Francis Dais: I Michele James: Okay. Francis Dais: think, yeah. Michele James: 'Kay. Elizabeth Brito: Okay. Michele James: Alright, Francis Dais: Yeah, Michele James: well Francis Dais: so let's Michele James: uh Francis Dais: see. Elizabeth Brito: Then uh we see you in about thirty minutes. Brenda Willis: Yes. Elizabeth Brito: And see what we can come up with. Francis Dais: Hmm. Michele James: Okay, Brenda Willis: Okay. Michele James: very good. Elizabeth Brito: Okay? Brenda Willis: Yes. Francis Dais: Yeah.

The meeting opens with the group doing introductions by giving their name and role. Betty is Elizabeth Brito, Francina is the user interface specialist, Eileen is Michele James, and Jeanne is Francis Dais. Elizabeth Brito 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 Elizabeth Brito going over the tasks they are to complete and telling them they will meet again in about thirty minutes.

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Vonda Ungar: Okay, is everybody ready? Lois Wedlow: Yeah? Irene Huisenga: Yeah I'd to just put on my microphone here and I'll be right with you. Vonda Ungar: Mm-hmm. Irene Huisenga: Okay? Vonda Ungar: Um I take it you all have received instructions as to what you were supposed to do Lois Wedlow: Mm? Annemarie Mills: Yes. Vonda Ungar: and um I think the Marketing Manager probably should go first, addressing the needs and desires. Irene Huisenga: Okay you want Irene Huisenga to start right now? Vonda Ungar: Yeah, mm-hmm. Irene Huisenga: Okay. Well, could you um put my slides up 'cause I think it might be helpful if uh we looked at the slides at the same time. Vonda Ungar: Okay. Vonda Ungar: You're participant four. Irene Huisenga: I'm participant four I believe. Yes uh-huh. 'Kay. Vonda Ungar: Okay, and now I can uh full screen. Lois Wedlow: Open. Vonda Ungar: Uh, okay, okay. Irene Huisenga: There we go. Okay well I think Lois Wedlow: And then full Irene Huisenga: we Lois Wedlow: screen Irene Huisenga: have introduced ourselves, so the functional requirements are is is part of my goal but why don't we pass right to the second slide. Cause that's where m my discussion starts. Right well um since I'm in charge of trying to figure out what we should put on this thing since I have to try to sell it. Lois Wedlow: Mm-hmm. Irene Huisenga: Um I thought that the method I should follow would be gather suggestions from everybody, and th the reason I just put that there like that is that uh in the init in the initial stage I think I should just be open to lots of suggestions. You know you can say anything you want no matter how silly it sounds you know it should run your car, it should heat up your motor if should um turn on your C_D_ whatever you want it Lois Wedlow: 'Kay. Irene Huisenga: to do um and then as we go on what we'll have to do is accept and eliminate these suggestions according to um design and budget feasibility. So I'll be coming to you um frequently as the Industrial Expert Lois Wedlow: Mm-hmm. Irene Huisenga: to tell Irene Huisenga how hard it's gonna be Lois Wedlow: Yeah. Irene Huisenga: to add a feature or how expensive Lois Wedlow: Yeah. Irene Huisenga: it's gonna be Lois Wedlow: Yeah. Irene Huisenga: or if your time, if it takes five years Lois Wedlow: Hmm Irene Huisenga: to develop this Lois Wedlow: hmm. Irene Huisenga: it's just something we can't Lois Wedlow: Mm. Irene Huisenga: do. So in the beginning just have a big puddle Lois Wedlow: Yeah. Irene Huisenga: of things that we anybody can th throw anything in and then just weed things out that can't be done for one reason or another, and then the things that seem the most attractive that to uh to a customer Lois Wedlow: Mm-hmm. Irene Huisenga: we'll try to then prioritise those. Lois Wedlow: Yeah. Irene Huisenga: So that was um what I meant there, and as I said on the slide there consulting the Industrial Engineer about that and the other thing is timing is really gonna be as important as money, because if we're gonna sell this thing, I think the best time to sell it is as a Christmas present. Twenty five Euros makes a nice little present, and we want it to be an impulse purchase, we Lois Wedlow: Mm. Irene Huisenga: want somebody to see it and think it's, gee I just gotta have that. And take out their wallet and buy it. So it's gotta be really attractive and it but it's gotta go to market by September, 'cause anything that you don't already have out there in September showing it around, isn't Lois Wedlow: Yeah. Irene Huisenga: gonna sell for Christmas. Um and then I'll be coming to you as the User Interface person to try to tell Irene Huisenga from your point of view what are the most friendly features that we could put on it and try to prior help Irene Huisenga with that prioritising Annemarie Mills: Okay. Irene Huisenga: of uh of the features and of the the look and the colour and I'll be coming back to you to help weed out those suggestions from that point of view. Annemarie Mills: Okay. Irene Huisenga: So I'll be coming to you for how much is it gonna cost us and how long is it gonna take Lois Wedlow: Mm Irene Huisenga: you, Lois Wedlow: mm-hmm. Irene Huisenga: and I'll be coming to you to tell Irene Huisenga what's gonna make Annemarie Mills: What Irene Huisenga: somebody Annemarie Mills: features. Irene Huisenga: take out their wallet you know, what what's what's gonna really be what they call a sizzle, 'cause we gotta Annemarie Mills: S. Irene Huisenga: sell this sizzle. Annemarie Mills: Yes. Irene Huisenga: A lot of times the thing that works the best from an engineering point of view isn't the thing that somebody's really just gonna take out their wallet and buy for Christmas for for their child or for Annemarie Mills: Yes. Irene Huisenga: their husband or whatever. Okay can we go to the next slide please? Alright I I already did a little bit of research after our first meeting where we threw out some ideas and it looks to Irene Huisenga that within the budget that we're looking at the uh the whole house idea really isn't gonna be possible. So I'd like your suggestions to come back to the other slide where I was saying we we could suggest anything. I'd like the suggestions to be really specific, so that we'll have a list of things we can cross off, not something like you know whole house control what'll be And then I found on the internet from from my research that some extended electronic entertainment control should be possible. At the budget that we're looking at and at the price point we're looking at, we should be able to make it work the T_V_, the V_C_R_, the stereo set um maybe something else cute like a coffee pot or one other appliance Vonda Ungar: Uh okay, Irene Huisenga: or maybe Vonda Ungar: can Irene Huisenga: a lamp. Vonda Ungar: can I Irene Huisenga: I Vonda Ungar: at Irene Huisenga: have Vonda Ungar: this Irene Huisenga: to wind Vonda Ungar: point Irene Huisenga: up? Vonda Ungar: interject um Irene Huisenga: Yeah, sure. Vonda Ungar: something? Um we have received instruction from higher up that certain things should uh considered. Irene Huisenga: Okay. Vonda Ungar: Um the one thing for example something to eliminate maybe that's the teletext, because that's sort of outdated Irene Huisenga: Okay. Vonda Ungar: with the internet, Lois Wedlow: Mm-hmm. Vonda Ungar: and according to to higher management the it should only control the T_V_, mostly because they feel that it's too comp complex a task Lois Wedlow: Complicated, Vonda Ungar: to Lois Wedlow: yeah, of course. Vonda Ungar: um to to include other things, and they are concerned with the time to market. Lois Wedlow: Yeah. Irene Huisenga: Of course, yeah. Annemarie Mills: Okay. Vonda Ungar: Okay. Um Irene Huisenga: Okay, so that's Vonda Ungar: and Irene Huisenga: something Vonda Ungar: the and the third thing that they wanna make sure um that their that the corporate image is being maintained, and that the corporate colour and design are being used on the product, so that it's easy that that that they can be easily identified as a product of of of the company, and that there's no mistake that it Lois Wedlow: Mm-hmm. Vonda Ungar: could be somebody else who is bringing this out. So I just wanted to interject this here so we're not getting too much off track here with uh with the things we wanna look at. These were instructions from higher up so we have to eliminate uh these things, so it's Irene Huisenga: Okay Vonda Ungar: only Irene Huisenga: so Vonda Ungar: gonna be T_V_, but the one thing maybe that could be um eliminated is the teletext uh idea. Irene Huisenga: Okay. Vonda Ungar: Mm 'kay. Annemarie Mills: Okay. Irene Huisenga: Alright, thanks for that. Um alright now other things that I found out on in my research is that the complaints that people have about the remote controls that are out there now. 'Cause a lot of them take too much time to learn how to use, and that was thirty four percent but even more important the thing that we did address in our last meeting that frequently it's lost somewhere in the room. definitely do wanna address, uh we wanna s make it as simple as possible, we wanna make it um obvious and intuitive to use, and then the things about finding it we talked about the a light emitting thing as well as uh maybe a beep, and I think that those are things after my research that we definitely wanna try to incorporate. 'Kay can we go to the next slide please? Okay, so, my personal preferences in this um project are really have to concentrate on the sizzle. That is the selling point, the thing that's gonna make it an impulse purchase. Uh because once there's no be-back, well in sales they always say you know, be-backs don't come back. If somebody says, oh I'll come back and get it next week you're dead. They're never gonna come back and buy it. You've gotta make it attractive enough so they buy it now now now w now is a big word in in my book for selling this thing. And, in order to make it really sellable we've gotta shorten the learning curve, make sure it's really intuitive and easy to use. We have to have as few buttons as possible, because more buttons is more confusion, so that's why I'm saying, simplicity is good. Finding it's important, obviously you can't use it if you can't find it. So we've gotta concentrate on the features that help you find it, and I've already said this several times but I put it down in writing here, it should be an attractive impulse purchase at twenty five Euros. So it has to have enough value that when somebody looks at it they say, uh twenty five Euros I'm not gonna take that. Has to be so great that they're gonna say, uh twenty five Euros isn't much. Um and then maybe a motto, like we put fashion in electronics might be something we can use in our marketing campaign. Lois Wedlow: Yeah. Irene Huisenga: Okay that's uh about it for Irene Huisenga right now. Vonda Ungar: Okay. And uh who would be next, uh, I guess that would be you. Lois Wedlow: Yeah Vonda Ungar: Mm-hmm. Lois Wedlow: 'kay. Vonda Ungar: You want Irene Huisenga to get your Lois Wedlow: Yeah Vonda Ungar: slide show Lois Wedlow: yeah Vonda Ungar: up? Lois Wedlow: sure. Vonda Ungar: Mm-hmm. Lois Wedlow: Thank you. Vonda Ungar: And you are number three? Lois Wedlow: Number two, Vonda Ungar: Number Lois Wedlow: yeah. Vonda Ungar: two. Lois Wedlow: Yeah exactly. Vonda Ungar: Okay. Lois Wedlow: Uh can you Vonda Ungar: Okay. Lois Wedlow: make it uh full screen please? Vonda Ungar: Mm-hmm. Yep. Lois Wedlow: No, it's like a well you you have to press here. cup shape here? Vonda Ungar: Yeah yeah, uh-huh. Lois Wedlow: The thir third. Yeah Vonda Ungar: There, mm-hmm. Lois Wedlow: exactly. Uh so today I'm going to talk about the working design of the remote controller. Irene Huisenga: Okay. Lois Wedlow: Um can you go to the next sli slide please? Vonda Ungar: Mm-hmm. Lois Wedlow: The metal is like uh in a remote controller you have a chip integrated circuit which is like a brain of the remote controller. It takes the power from a battery say a battery it it can be a elec an electric supply like you have to uh like uh switch connec connect connect your remote controller to uh power supply from the you know electricity or something like that. It should be a battery because uh uh remote controller should be like you you you should take it t to wherever you want Irene Huisenga: Mm-hmm. Lois Wedlow: and then um uh th this integrated circuitry takes energy from the power source and whatever like if you press a button it's like a input for the remote controller and it takes the input and it it transforms into a infro infrared bits and it sends it into the device, like a T_V_ or a air conditioner, something like that so. Uh a remote controller is specifically designed to a single device. If you want to design it for multiple devices then you should make all the devices compatible with the frequency like uh th the remote controller it sends some bits some uh waves like with a particular frequency the device should know what the frequency is. It should re re recognise the uh waves which are coming from the remote controller and it should take the action like if you press a button channel or something like that then uh the remote uh remote controller will send a send a se send Irene Huisenga: Signal. Lois Wedlow: a signal, and the T_V_ it should translate Annemarie Mills: Receive. Lois Wedlow: that into like change the channel or something Irene Huisenga: Mm-hmm. Lois Wedlow: like that, change the volume control Vonda Ungar: Mm-hmm. Lois Wedlow: and uh so uh I think it's hard to design a remote controller for multiple uh devices. Annemarie Mills: Multi-purpose. Irene Huisenga: Yeah well Vonda Ungar: Yo Irene Huisenga: that's Vonda Ungar: and Irene Huisenga: already Vonda Ungar: it's Irene Huisenga: been eliminated Vonda Ungar: yeah Irene Huisenga: by management, Lois Wedlow: Uh yeah. Vonda Ungar: but Irene Huisenga: so Vonda Ungar: it's so. Irene Huisenga: we're off the hook. Lois Wedlow: Um. Vonda Ungar: Yep. Lois Wedlow: So uh user interface controls the chip and accordingly the messages like there should be a user user in interface like you know switch pad or something like that buttons should be there. So uh you can control whatever you want, you want to change the channel you want to control the volume you you want to uh mute uh mute the uh T_V_ or you want to have a child lock or you want to do some operations there's a there should be some device to tell what to do to the uh in uh integrated circuit so that Irene Huisenga: Mm Lois Wedlow: the Irene Huisenga: okay. Lois Wedlow: integrated circuit can s send the signals and T_V_ can perform the actions. So can you go to the next Irene Huisenga: Okay. Lois Wedlow: slide please? So I I just would like to uh add some extra features to the remote controller Irene Huisenga: Mm-hmm. Lois Wedlow: um I think these are the very simple features and uh they don't take much uh uh much of the um um investment also, it's like el the text or buttons which uh which are there on the uh remote controller they those we can make uh um like fluorescent Irene Huisenga: Mm-hmm. Lois Wedlow: uh they'll be like light emitting if it is dark so that you can find your remote controller if it is dark. And ther there should be a beep if many buttons are pressed if suppose a child is playing with the remote controller and a and she she or he is pressing the buttons all at the time then there should be a beep saying that it's this this is not a a you know a a action, there can be no action taking to that so. And there should be a child lock, like uh uh you should be able to lock your remote controller so that uh um whatever buttons are pressed by a child they can't be like y you i you if you have ki kids and all then they'll be pl playing with the remote controllers so can lock the remote controller. If make it useable for more than one device it's a it's hard but I Vonda Ungar: Yeah Lois Wedlow: think Vonda Ungar: well Lois Wedlow: it's possible Vonda Ungar: yeah Irene Huisenga: Well Vonda Ungar: well Lois Wedlow: but Vonda Ungar: that Irene Huisenga: we already Vonda Ungar: has Lois Wedlow: it Vonda Ungar: been e Lois Wedlow: uh yeah Vonda Ungar: that Irene Huisenga: eliminated Vonda Ungar: has Lois Wedlow: yeah Vonda Ungar: been eliminated, Annemarie Mills: Eliminated. Irene Huisenga: that. Lois Wedlow: yeah Vonda Ungar: so that's Lois Wedlow: so Vonda Ungar: that's Lois Wedlow: it's it's Vonda Ungar: unfortunately Lois Wedlow: okay, yeah, Vonda Ungar: a moot point Lois Wedlow: yeah. Vonda Ungar: now. Mm-hmm. Lois Wedlow: And uh different shapes that we can do like uh we can have you know a all animals shapes or you know comfortable uh whi which can fit into your hands and um Irene Huisenga: Now Lois Wedlow: so Irene Huisenga: that's Lois Wedlow: that Irene Huisenga: good Lois Wedlow: uh Irene Huisenga: from a marketing point of view, the Lois Wedlow: Yeah, Irene Huisenga: fun Lois Wedlow: yeah, Irene Huisenga: the fun Lois Wedlow: yeah Irene Huisenga: shape. Lois Wedlow: and colours also, different Vonda Ungar: Yeah Irene Huisenga: And that Vonda Ungar: I Annemarie Mills: Mm-hmm Lois Wedlow: colours, Irene Huisenga: you Annemarie Mills: colours. Irene Huisenga: you Lois Wedlow: and Irene Huisenga: say that won't add too much to the budget? To Lois Wedlow: No no Irene Huisenga: d Lois Wedlow: no, it Irene Huisenga: the shape Lois Wedlow: won't uh Irene Huisenga: is Lois Wedlow: I Irene Huisenga: uh Lois Wedlow: don't think it will be like, you can have you know for uh if you want Vonda Ungar: It just Lois Wedlow: ther Vonda Ungar: build Lois Wedlow: there Vonda Ungar: a mould Lois Wedlow: to be more Vonda Ungar: basically and Lois Wedlow: Yeah Vonda Ungar: uh Lois Wedlow: yeah. It's Vonda Ungar: you Annemarie Mills: Yes Lois Wedlow: it's Vonda Ungar: know. Lois Wedlow: just Annemarie Mills: exactly. Lois Wedlow: a s shape so it doesn't matter. Vonda Ungar: As the budget we're looking at if you build one mould I don't think Lois Wedlow: Yeah. Vonda Ungar: that's going to make a big difference whether it's gonna be square or Irene Huisenga: Do you think there's any chance of um having ser in having basically the same machine with the same buttons but maybe several different shapes? Lois Wedlow: Yeah that is also Vonda Ungar: Oh yes. Lois Wedlow: possible I Irene Huisenga: Is that Lois Wedlow: uh Irene Huisenga: gonna Lois Wedlow: yeah Irene Huisenga: be Annemarie Mills: Yes. Irene Huisenga: a Lois Wedlow: I Irene Huisenga: possible? Lois Wedlow: I Irene Huisenga: 'Cause Lois Wedlow: yeah. Irene Huisenga: that Vonda Ungar: I Irene Huisenga: might Vonda Ungar: think Irene Huisenga: help with the marketing. Vonda Ungar: I think we will have to look Lois Wedlow: Yeah that Vonda Ungar: at the Lois Wedlow: will Vonda Ungar: budget Lois Wedlow: be Vonda Ungar: on that but I think in principle that that would be that would be kind of fun, Lois Wedlow: Yeah Irene Huisenga: Because Vonda Ungar: you know. Lois Wedlow: yeah. Irene Huisenga: we had something sort of sexy Lois Wedlow: Mm-hmm. Irene Huisenga: for adults and Vonda Ungar: Yeah. Irene Huisenga: we could have something sort of Vonda Ungar: Silly for Irene Huisenga: silly Vonda Ungar: children. Lois Wedlow: Yeah, Irene Huisenga: for Lois Wedlow: for Irene Huisenga: children Lois Wedlow: children, Vonda Ungar: Like Irene Huisenga: or a Vonda Ungar: an Irene Huisenga: little Lois Wedlow: yeah Vonda Ungar: animal Lois Wedlow: exactly. Irene Huisenga: animal Annemarie Mills: Like Vonda Ungar: or Irene Huisenga: shape Annemarie Mills: a doll, Irene Huisenga: or Lois Wedlow: Yeah, Irene Huisenga: in Lois Wedlow: that's Irene Huisenga: a Annemarie Mills: or Lois Wedlow: what, Vonda Ungar: Yeah. Irene Huisenga: or a Lois Wedlow: yeah. Irene Huisenga: little elephant so they can remember where it is. Lois Wedlow: Yeah, exactly. Annemarie Mills: Yes. Lois Wedlow: Yeah. And and If there are more buttons then it will be more complicated. If you have less features then your remote controller won't be attractive, so I think uh we need to make some buttons which are which are like um uh f in uh in intended for two or three operations, like if you press one button in one mode then it will change the channel, if you press the other button in another mode it will change the colour. So if you want to have less Irene Huisenga: Mm. Lois Wedlow: buttons we can have that option but I think it will complicate the matter more I think Irene Huisenga: Well, Lois Wedlow: so. Irene Huisenga: I think I think that that's something that we'll have to discuss um Lois Wedlow: Yep, Annemarie Mills: Yes. Irene Huisenga: with the User Lois Wedlow: yeah. Irene Huisenga: Interface person because I think there's a lot of argument to be made for one button for one feature. Because I think one of the things were complaining about in my what I found out in my research is when they complained about how hard it is to learn a new one. Lois Wedlow: Mm-hmm. Irene Huisenga: The changing modes was something Lois Wedlow: Yeah, it's like you Irene Huisenga: I Lois Wedlow: know Irene Huisenga: mean you Lois Wedlow: yeah. Irene Huisenga: and I, all f all four of us we work Lois Wedlow: Yeah. Irene Huisenga: with computers all Lois Wedlow: Yeah, Irene Huisenga: the time, Lois Wedlow: yeah. Irene Huisenga: changing Annemarie Mills: Okay. Irene Huisenga: modes is nothing for us, but people who Vonda Ungar: Yeah, a little elderly, a little arthritic hand Irene Huisenga: N Vonda Ungar: you Lois Wedlow: Mm-hmm. Vonda Ungar: know, Irene Huisenga: and Vonda Ungar: and and it's a small button and and Lois Wedlow: Yeah. Vonda Ungar: it they don't press it exactly you know something else happens n not their favourite channel comes up but something Lois Wedlow: Yeah, Vonda Ungar: else Annemarie Mills: Something Lois Wedlow: yes. Vonda Ungar: and they're Annemarie Mills: else. Vonda Ungar: very Irene Huisenga: And Vonda Ungar: frustrated Irene Huisenga: that's and that's Vonda Ungar: you Irene Huisenga: the kind Vonda Ungar: know. Irene Huisenga: of thing people learn by feel, and um Lois Wedlow: Yeah, yeah you don't Irene Huisenga: you don't Lois Wedlow: us Irene Huisenga: feel Lois Wedlow: yeah Irene Huisenga: the Lois Wedlow: yeah, Irene Huisenga: mode Lois Wedlow: usually. Irene Huisenga: change. Lois Wedlow: Yeah. Irene Huisenga: So um maybe having buttons be various shapes might be a help Lois Wedlow: Yeah Irene Huisenga: too. Lois Wedlow: shapes also, different Irene Huisenga: You Lois Wedlow: shapes. Irene Huisenga: know, like the Lois Wedlow: Yeah Irene Huisenga: a Lois Wedlow: that Irene Huisenga: triangle Lois Wedlow: will Irene Huisenga: is for the Lois Wedlow: Mm-hmm. Irene Huisenga: volume and a square is for changing channels, Annemarie Mills: Channels. Lois Wedlow: Yeah. Irene Huisenga: so that people can Lois Wedlow: Yeah. Irene Huisenga: uh develop a tactile sense of it. But Lois Wedlow: Yeah, Irene Huisenga: we'll get Vonda Ungar: Mm, Irene Huisenga: to that with you. Vonda Ungar: mm-hmm. Lois Wedlow: yeah, and Annemarie Mills: Yes. Lois Wedlow: also text should be very clear so that there there won't be any ambiguities Irene Huisenga: That's Lois Wedlow: and Irene Huisenga: right, Lois Wedlow: uh Irene Huisenga: yeah. Now that's Lois Wedlow: So Irene Huisenga: a good point. Annemarie Mills: Yes. Irene Huisenga: Yeah. Lois Wedlow: yeah. And uh display clock i if you want more features then we can display a clock it I I don't think it will take any money extra money because anyway we have an integrated circuit I think we can just definitely fit that feature into the circuit so Irene Huisenga: Yeah, Lois Wedlow: it's Irene Huisenga: that's that's a good that's a good Vonda Ungar: Mm-hmm, Irene Huisenga: one, Lois Wedlow: Yeah, Annemarie Mills: Mm Irene Huisenga: because Lois Wedlow: and Annemarie Mills: yeah. Lois Wedlow: we display Vonda Ungar: mm-hmm. Irene Huisenga: the clock Lois Wedlow: a clock. Irene Huisenga: would be really friendly, Vonda Ungar: Yes. Irene Huisenga: and and Lois Wedlow: Yeah. Irene Huisenga: when is your favourite show Vonda Ungar: Yes. Irene Huisenga: coming Lois Wedlow: Yeah, Irene Huisenga: on Lois Wedlow: and Annemarie Mills: Yes. Vonda Ungar: Yeah Lois Wedlow: then you Vonda Ungar: you're Lois Wedlow: can Vonda Ungar: sitting Lois Wedlow: just Irene Huisenga: and Vonda Ungar: there Lois Wedlow: see your Vonda Ungar: already Lois Wedlow: remote Vonda Ungar: or maybe Lois Wedlow: controller Vonda Ungar: you have Lois Wedlow: yeah Vonda Ungar: no Lois Wedlow: yeah Vonda Ungar: other Lois Wedlow: yeah so Irene Huisenga: Yeah, and a lot Vonda Ungar: uh Irene Huisenga: of time there's not a clock on the screen, and you have Lois Wedlow: Yeah. Irene Huisenga: to go somewhere but you just wanna look at the news for a minute. Yeah that's that's good, the clock is good. Lois Wedlow: Yeah. Irene Huisenga: Okay. Lois Wedlow: Uh can you go to the next Vonda Ungar: Mm-hmm. Lois Wedlow: slide please? Uh components uh the main components we need for uh it ha like buttons and uh underneath that there should be switch. And uh bulbs. Like uh we can have a bulb like whenever we are operating a remote controller or uh whenever the T_V_ is on suppose, Annemarie Mills: Hmm. Lois Wedlow: then the remote controller should automatically have a b s light. Irene Huisenga: Mm-hmm. Lois Wedlow: Then it will be like if you switch on your T_V_ through anoth another source, not from through a remote remote controller and you you lost your remote controller maybe you can find with the light. Irene Huisenga: Mm-hmm. Lois Wedlow: Maybe we can have that. Whenever the T_V_ is on, remote controller will have a light. Irene Huisenga: Mm-hmm. Lois Wedlow: And then uh infrared bulbs. Irene Huisenga: Mm-hmm. Lois Wedlow: Um this is like uh when it is dark. Vonda Ungar: Yeah, mm-hmm. Irene Huisenga: Mm-hmm. Lois Wedlow: And battery, there should be a battery for power supply, and Irene Huisenga: Mm-hmm. Lois Wedlow: a chip, chip which is like a brain to the remote Vonda Ungar: Mm-hmm. Lois Wedlow: controller which does all the operations, and wires connecting all chips, which is uh lights, everything, Vonda Ungar: Yeah. Lois Wedlow: so there should Annemarie Mills: Okay. Lois Wedlow: be wires. And uh uh of course there should be a case where we can keep all the things and, you know different shapes or whatever it is there should be a case to put to give Annemarie Mills: To Lois Wedlow: a Annemarie Mills: keep Lois Wedlow: shape. Annemarie Mills: the remote? Lois Wedlow: Yeah. Annemarie Mills: Yeah. Irene Huisenga: Case. Annemarie Mills: A case holder. Lois Wedlow: Yeah, Annemarie Mills: A holder Lois Wedlow: holder. Annemarie Mills: remote Vonda Ungar: Holder, Annemarie Mills: holder. Vonda Ungar: yeah, mm-hmm. Lois Wedlow: Um uh can you move onto the next slide. Um next sli slide please. Um I have referred the site uh the homepage of the um our website, uh from where I have uh uh I got s few points. Vonda Ungar: Mm-hmm. Lois Wedlow: That's it, that's it from Irene Huisenga now. Vonda Ungar: Okay. Irene Huisenga: So it um we should visit this site and have a look at uh what's Lois Wedlow: Um. Irene Huisenga: up there? Or Vonda Ungar: Well, you don't have to. Lois Wedlow: Uh it's not like that, I have referred the page to get new ideas or like Irene Huisenga: Okay. Lois Wedlow: what can be the working design to how it works and all and Irene Huisenga: Okay. Lois Wedlow: so and so. Irene Huisenga: So it might be helpful if we had a look at that. Lois Wedlow: Yeah if you want. Irene Huisenga: Okay, Lois Wedlow: Yeah, Irene Huisenga: thank Lois Wedlow: it's Irene Huisenga: you. Lois Wedlow: okay. Irene Huisenga: Could you go back to that slide where she had that uh s slide up Betsy? Lois Wedlow: Uh, it's actually there now, there on the screen. Vonda Ungar: This one? Irene Huisenga: Yeah, okay, thank you. Vonda Ungar: And Francine? Annemarie Mills: Participant two. Vonda Ungar: You are Annemarie Mills: Yes. Vonda Ungar: number two? Annemarie Mills: No no, I'm three. Vonda Ungar: You're three. Annemarie Mills: I can? Vonda Ungar: Would you want it Annemarie Mills: Yes Vonda Ungar: full full Annemarie Mills: yes Vonda Ungar: screen? Mm-hmm? Annemarie Mills: yes. Vonda Ungar: Okay. Annemarie Mills: Okay. As uh User Interface Designer I did a little research to find out what are the features which a user would like to have on their remote. Vonda Ungar: Mm-hmm. Annemarie Mills: Yeah can you please go onto the next Vonda Ungar: Mm-hmm. Annemarie Mills: slide? So I found out that uh but uh the main purpose of a remote is to uh f control the function of a television at a far off distance at remote distance. Now for that, uh a remote controller should have a switch on off button by which a user can sit anywhere in the room in front Vonda Ungar: Mm-hmm. Annemarie Mills: of the T_V_ and he can control the functionalities different functionalities of the T_V_. There should be a signal uh something like a radio wave or a infrared light or a LED which can be used to change the different functionalities in the television if the user wants to uh change the channels or increase the volume he can change it. Irene Huisenga: Mm-hmm. Annemarie Mills: Now there should be some timer to set for viewing a particular a particular programme or switching on and off a uh a particular programme according to the user Vonda Ungar: On Annemarie Mills: choice. Vonda Ungar: the on on the remote. Annemarie Mills: Yes. Vonda Ungar: Yeah, mm-hmm. Annemarie Mills: Yes. So if if he want to view a particular programme Vonda Ungar: Mm-hmm. Annemarie Mills: at say nine o'clock Vonda Ungar: Mm-hmm. Annemarie Mills: he can set the time, Vonda Ungar: Right. Annemarie Mills: and the T_V_ will automatically it will switch on at that particular time. Vonda Ungar: Mm-hmm. Annemarie Mills: So he can use that kind of uh uh properties of features and then there should be a child lock system if a particular channel is not to be Vonda Ungar: Yes. Annemarie Mills: viewed by a particular uh for Vonda Ungar: By Annemarie Mills: a Vonda Ungar: your child, Annemarie Mills: certain Vonda Ungar: mm-hmm. Annemarie Mills: age, then the parents can lock that particular channel so that the ch children cannot view that Irene Huisenga: Mm-hmm. Annemarie Mills: channel. Vonda Ungar: Mm-hmm. Annemarie Mills: And uh the uh the uh and the one of the feature a user would like to have is the compactness of the co remote. Vonda Ungar: Mm-hmm. Irene Huisenga: Mm-hmm. Annemarie Mills: Uh t the remote should be compact and it should ha it should have as many buttons as possible for controlling different functionalities of the T_V_ television. And um uh as uh uh this is my personal preference that it should be in the shape of a T_ in alphabet for more compactability. Vonda Ungar: Mm-hmm. Annemarie Mills: And uh and uh and it is one more point which I noted it down, like uh the material which which which is used for remotes should be human friendly it should not cause any skin disease or something some al allergy Vonda Ungar: Mm-hmm. Annemarie Mills: to either children or to um Vonda Ungar: Mm-hmm. Annemarie Mills: ad Irene Huisenga: Mm, Annemarie Mills: adult Irene Huisenga: 'kay. Vonda Ungar: Mm-hmm. Annemarie Mills: person. And it should have an uh it can have an alarm clock a a person if some if somebody wants to get up at around Lois Wedlow: Mm. Annemarie Mills: eight eight P_M_ then he can set the time and it can be used as an alarm clock, Vonda Ungar: Mm-hmm. Annemarie Mills: and I don't think it will cost much to set an alarm clock inside a Lois Wedlow: Yeah, Annemarie Mills: remote. Lois Wedlow: sure. Vonda Ungar: Mm-hmm. Lois Wedlow: If there is a clock then there can be a Irene Huisenga: And an Lois Wedlow: alarm Irene Huisenga: alarm Annemarie Mills: Yes, Irene Huisenga: clock, Lois Wedlow: clock. Irene Huisenga: yeah Annemarie Mills: and Irene Huisenga: that should Annemarie Mills: as Irene Huisenga: that should Annemarie Mills: John Reece Irene Huisenga: be okay. Annemarie Mills: said the buttons can be, uh can Irene Huisenga we can use the fluorescence to light up the buttons so different uh buttons will glow differently. So in even in the dark the user can know what buttons to use to switch on a particular channel. And uh uh the design of the uh um remote should be in such a way that there should not be any sharp projections so that if a child plays with a remote, he Lois Wedlow: Hmm. Annemarie Mills: uh he should not be harmed in any way. And findings, uh I found out uh y um on different sites that uh there are different remotes which can be used, there are remotes which use the infrared for controlling the different functionalities, there are remotes which use the radio waves to control the functions and there are uh So uh there you have different uh types of remotes for different light source which are used which can be used for controlling the different functionalities of a television. Annemarie Mills: Next slide. And these are my few personal preferences like it can be used for a multipurpose use. Not, uh no uh like it can it can be used as a T_V_ control as plus an alarm clock to set an alarm a timing and it should have a child lock, and then to save electricity uh there should not be uh much s move uh lots of circuits and all that. And if a person if if if parents wants the television to be switched off by ten o'clock then it should be switched off ten o at ten o'clock automatically, so that nobody else comes later Lois Wedlow: It's like Annemarie Mills: and Lois Wedlow: a Annemarie Mills: use it. Lois Wedlow: t okay, it's like a timer Vonda Ungar: Timer, yeah, Annemarie Mills: Timer. Vonda Ungar: mm-hmm, Lois Wedlow: it's Vonda Ungar: mm-hmm. Lois Wedlow: like a lock Annemarie Mills: Yeah Lois Wedlow: to Annemarie Mills: and Lois Wedlow: the television. Annemarie Mills: then you can use a timer as well. Yes. Yeah that's it. Vonda Ungar: Uh okay, now I have Vonda Ungar: On my slide show basically we already we have already done the agenda, and uh on the closing uh basically there will be lunch break and all that. However uh the decision we have to take in this meeting is who is our target group. Annemarie Mills: Okay. Vonda Ungar: And uh what function, working design, how how does it work. So these are the two things we should come up wit with. So uh the first thing is pro maybe a little easier on uh who is our target group. Um. I guess in many ways everybody. Everybody Lois Wedlow: Mm, Vonda Ungar: who has a T_V_. Lois Wedlow: T_V_, Annemarie Mills: T_V_ Lois Wedlow: yeah. Annemarie Mills: television we was. Vonda Ungar: Yeah, and I think today there are probably not many people who don't Lois Wedlow: Don't Vonda Ungar: have a T_V_. Lois Wedlow: T_V_, Vonda Ungar: There Lois Wedlow: yeah. Vonda Ungar: are a few but in general not. Now, talking about the target group which is in a sense everybody, but I think within the target group we have subgroups. We have we have earlier it was mentioned about um for example elderly people Annemarie Mills: Mm-hmm. Vonda Ungar: who have limited function with their fingers and hands, Lois Wedlow: Hmm. Vonda Ungar: so I think that's uh one group that's certainly important. Um then we have just the nervous people who can never press a little button on anything um unless it's really very clear. Lois Wedlow: Yeah. Vonda Ungar: And uh I don't know how much we want to cater to children's use. I mean that's a question um whether that's important that children can really use it or not. Lois Wedlow: Mm. Vonda Ungar: So this these are just some thoughts I have on it, Irene Huisenga: Mm-hmm. Vonda Ungar: group we're gonna design this one thing Lois Wedlow: Yeah. Vonda Ungar: or whether we're looking at what we like we we talking about different shapes, Irene Huisenga: Mm-hmm. Vonda Ungar: whether that different shape also includes maybe different uh buttons Lois Wedlow: Mm-hmm. Irene Huisenga: Mm-hmm. Vonda Ungar: uh for different groups. Irene Huisenga: Well you know there's the old motto, children under six never shop alone. Vonda Ungar: Mm-hmm. Irene Huisenga: So if you've designed something that's very attractive to children um the mummy please mummy please um you know we want it now we wanna go to the store and see it um that has uh a lot of Vonda Ungar: That has Irene Huisenga: marketing Vonda Ungar: a lot of Irene Huisenga: pull. Vonda Ungar: that has a lot of Lois Wedlow: Mm. Vonda Ungar: appeal but I think uh I'm I'm talking about the functionality now on it whether we're looking at different groups. I think the children issue can be addressed with the shape Irene Huisenga: Mm-hmm. Vonda Ungar: and with colours. Irene Huisenga: That's Lois Wedlow: Yeah. Annemarie Mills: Different Irene Huisenga: right. Vonda Ungar: You Annemarie Mills: colours. Vonda Ungar: know, like you make it nice and pink, fluorescent, banana colour Annemarie Mills: Yes. Vonda Ungar: or whatever Irene Huisenga: You can make a banana Vonda Ungar: you Irene Huisenga: shaped Vonda Ungar: know Irene Huisenga: one. Lois Wedlow: Yeah. Vonda Ungar: yeah, for example you know. Lois Wedlow: Mm. Vonda Ungar: But the question is really, who is our target group. Irene Huisenga: Mm-hmm. Vonda Ungar: Do we look at one target group? And with the twenty five Euros you know can we can we afford to have uh I'm asking the technical people here whether um to look at sort of subgroups with maybe different buttons for each group how much would that throw us out of the cost we are supposed to Irene Huisenga: Respect. Vonda Ungar: respect? Irene Huisenga: Mm. Annemarie Mills: Okay. No uh generally we can we can design a remote which is mainly for people with uh f age from ten to um forty Vonda Ungar: Right. Annemarie Mills: and and then we can add on uh specific functional buttons for children as well as the elderly people or the people wit Vonda Ungar: With Annemarie Mills: with Vonda Ungar: with Annemarie Mills: who have nervous problems, Vonda Ungar: Mm-hmm. Annemarie Mills: yes. Lois Wedlow: We can design different remotes for different people, like for aged people there will be big buttons and you Vonda Ungar: Well Annemarie Mills: But Lois Wedlow: know. Annemarie Mills: in Vonda Ungar: that's Annemarie Mills: a Vonda Ungar: that's Annemarie Mills: family Lois Wedlow: yeah. Children and everybody, yeah. Annemarie Mills: They would like to buy just one and um just one which can be used all the three Lois Wedlow: Yeah Annemarie Mills: uh Lois Wedlow: of course that we can do, but specifically if y if like elderly people want big buttons then you can't really make a bi big remote controller so maybe specifically you can design a big con remote controller for elderly and for children, Irene Huisenga: What Lois Wedlow: like Irene Huisenga: about Lois Wedlow: in a Irene Huisenga: the Lois Wedlow: different Irene Huisenga: electronics? Lois Wedlow: you know. Irene Huisenga: That's Vonda Ungar: Yeah. Irene Huisenga: not really gonna change Annemarie Mills: Cost effective. Irene Huisenga: much, is Lois Wedlow: No, Irene Huisenga: it? Lois Wedlow: it it doesn't cost, Irene Huisenga: That Vonda Ungar: No Lois Wedlow: yeah. Irene Huisenga: that w that won't change much, will it Lois Wedlow: Yeah. Irene Huisenga: uh? Lois Wedlow: Doesn't doesn't Vonda Ungar: The Irene Huisenga: I d I Lois Wedlow: doesn't Vonda Ungar: the Irene Huisenga: wouldn't Vonda Ungar: quest Lois Wedlow: matter. Irene Huisenga: think Vonda Ungar: the Irene Huisenga: so. Vonda Ungar: question to be addressed here is only who is the target group and how will it function, Irene Huisenga: Mm-hmm. Vonda Ungar: and I think the how will it function is probably the question of the buttons you know, Irene Huisenga: Yeah. Vonda Ungar: within the target group or subgroups. The question is only whether our budget will allow to have more than one design in a sense. Irene Huisenga: Yeah. Vonda Ungar: I mean the basic design I understand will be the same, but the question is how much will that set us back if let's say uh forty percent we make large buttons and the rest Annemarie Mills: Okay. Vonda Ungar: we make regular buttons Lois Wedlow: Yeah. Vonda Ungar: for example. Irene Huisenga: Yeah. Vonda Ungar: So that remains to s to be seen but uh the target group as a whole is is basically everybody with a T_V_. Irene Huisenga: That's right, Annemarie Mills: Yes. Irene Huisenga: and can we can we is it even feasible to make one one remote control with something for everyone, or would we have to use the same electronics and make three different shapes? Vonda Ungar: Yeah, well that's that's Irene Huisenga: Um Vonda Ungar: the question. Irene Huisenga: the same electronics and basically all that's gonna be different Lois Wedlow: Hmm Irene Huisenga: is the plastic case. Lois Wedlow: hmm. Irene Huisenga: And in that case we could probabl moulded plastic isn't all that expensive is it? Um you Lois Wedlow: Uh no. Irene Huisenga: as an Lois Wedlow: Mm, Irene Huisenga: industrial Lois Wedlow: I I Irene Huisenga: person? Lois Wedlow: I don't think no. Vonda Ungar: Well maybe there's Lois Wedlow: It's Vonda Ungar: there's an idea Lois Wedlow: not. Vonda Ungar: you know t the new for example new portable phones? Irene Huisenga: Mm-hmm. Vonda Ungar: They have like removable plastic cases, Irene Huisenga: Yeah. Vonda Ungar: so you can have a striped one or you can have a fluorescent blue one, or whatever, Irene Huisenga: Mm-hmm. Annemarie Mills: Okay. Vonda Ungar: and maybe something like that, that in each package you know you have Irene Huisenga: Well there's a real Vonda Ungar: you Irene Huisenga: idea Vonda Ungar: you Irene Huisenga: yeah. Vonda Ungar: have you have for example uh you have let's say a fluorescent blue on it Irene Huisenga: Mm-hmm. Vonda Ungar: but then you have uh another colour or stripe whatever that already comes in a package. Lois Wedlow: Hmm. Vonda Ungar: And Irene Huisenga: Yeah. Vonda Ungar: then if people really want more colours they can buy it separately. Irene Huisenga: Right. Lois Wedlow: Yeah, like Vonda Ungar: You Lois Wedlow: for Vonda Ungar: know, Annemarie Mills: Um Lois Wedlow: mobile phones we Vonda Ungar: yes. Lois Wedlow: have uh different you know covers, Irene Huisenga: Mm-hmm. Lois Wedlow: like Annemarie Mills: Yes. Lois Wedlow: designs Vonda Ungar: That's right, Lois Wedlow: and Vonda Ungar: and Lois Wedlow: all Vonda Ungar: but Lois Wedlow: so that Vonda Ungar: like Lois Wedlow: w Vonda Ungar: if Lois Wedlow: we can Irene Huisenga: Uh Vonda Ungar: if Lois Wedlow: have Irene Huisenga: yeah. Vonda Ungar: then Lois Wedlow: that. Vonda Ungar: everybody is is is tired of the fluorescent blue and of the striped or whatever they have as another one in the package, then they can go to the store and for a few uh Lois Wedlow: Yeah. Vonda Ungar: Francs or Euros whatever they can buy Irene Huisenga: An alternate package. Vonda Ungar: an alternate package with another two colours in it you know for example Irene Huisenga: Yeah. Vonda Ungar: you Irene Huisenga: Okay. Vonda Ungar: know. Annemarie Mills: But uh yeah I I have a doubt like will it be cost wise effective if we if we design a remote having all the uh different features for different people or designing three different um remotes for three different categories of people. Vonda Ungar: Well I think Lois Wedlow: Yeah, but Vonda Ungar: I Irene Huisenga: Well Lois Wedlow: uh Vonda Ungar: think Irene Huisenga: I think Vonda Ungar: the Irene Huisenga: we Vonda Ungar: idea Irene Huisenga: can only Vonda Ungar: here is Irene Huisenga: aff, Vonda Ungar: to uh to to Irene Huisenga: yeah. Vonda Ungar: d design one remote Annemarie Mills: Okay. Lois Wedlow: Yeah. Vonda Ungar: and what the only change is gonna be um the funct Irene Huisenga: Cosmetic. Vonda Ungar: d t yeah Annemarie Mills: Of th Vonda Ungar: uh Annemarie Mills: okay. Vonda Ungar: the functional functional cosmetics if you Annemarie Mills: Okay. Vonda Ungar: want to put it that way, Annemarie Mills: Mm-hmm. Vonda Ungar: um having maybe larger buttons or buttons that light up or buttons that are slightly differently shaped for people uh either for children um Five minutes that was I guess tha that's the old message. Irene Huisenga: Warning, finish Vonda Ungar: Finish Irene Huisenga: meeting Vonda Ungar: meeting Irene Huisenga: now. Vonda Ungar: now. Um um. Irene Huisenga: Well we may have to come back to one or Lois Wedlow: Yeah, Irene Huisenga: two of these Lois Wedlow: maybe, Irene Huisenga: points Lois Wedlow: yeah, Irene Huisenga: at our next meeting but Lois Wedlow: yeah. Irene Huisenga: um Vonda Ungar: But I think Lois Wedlow: If we do some more research, Vonda Ungar: I Lois Wedlow: maybe Vonda Ungar: I think Lois Wedlow: we. Vonda Ungar: to sum it up the target group is basically everybody. If money permits we can address some features for some subgroups Irene Huisenga: Mm-hmm. Annemarie Mills: Okay, Vonda Ungar: within that. Lois Wedlow: Hmm Annemarie Mills: mm-hmm. Lois Wedlow: yeah, Irene Huisenga: Okay Lois Wedlow: I Irene Huisenga: but Vonda Ungar: Do Lois Wedlow: think Vonda Ungar: we Irene Huisenga: we have Vonda Ungar: agree, Irene Huisenga: to Lois Wedlow: maybe Irene Huisenga: l Lois Wedlow: seventy Vonda Ungar: do we? Lois Wedlow: percent is a unique uh uh remote Vonda Ungar: Do we Lois Wedlow: controller Vonda Ungar: agree Lois Wedlow: and Vonda Ungar: on Lois Wedlow: thirty percent Vonda Ungar: on that Lois Wedlow: is Vonda Ungar: in Lois Wedlow: yeah Vonda Ungar: principle, Lois Wedlow: it's sort of Vonda Ungar: like Lois Wedlow: like yeah. Vonda Ungar: money will tell whether Lois Wedlow: Yeah, Vonda Ungar: we will Lois Wedlow: yeah, Vonda Ungar: be able Lois Wedlow: of Vonda Ungar: to Lois Wedlow: course, Vonda Ungar: do that Lois Wedlow: yeah. Vonda Ungar: or not. Irene Huisenga: Okay, Annemarie Mills: Yes. Irene Huisenga: fair Vonda Ungar: Okay? Irene Huisenga: enough. Lois Wedlow: Mm-hmm. Vonda Ungar: So now I understand it's lunch break. And um. So that's what we will do. Irene Huisenga: Okay. Annemarie Mills: Okay. Vonda Ungar: So hank you very much. Lois Wedlow: Thank you. Vonda Ungar: And we'll see you after lunch.

The meeting begins and Irene Huisenga starts her presentation promptly, telling them that her research shows they need a focus- it is not possible to make a device that works on the whole house. Vonda Ungar steps in and informs them that they have instructions to eliminate the teletext idea because it is too complicated, and also said they must maintain the corporate image by using corporate designs and colors. Irene Huisenga resumes, talking about how remotes often get lost and that a light emitter might be useful. Lois Wedlow gives her presentation, talking about components, materials, and energy sources. They discuss giving the control different shapes to suit both adults and children, making the buttons various shapes, and putting a display clock on the control. The interface designer presents, talking about the features users like on a remote and suggesting that they make the remote a T-shape and add an alarm clock function. They discuss their target group and the possibility of removable plastic cases. They close the meeting deciding to do more research on the plastic cases.

amisum

train

Susan Cox: Okay. Everybody found his place again? Yeah Ma Walters: Yes. Susan Cox: That's? nice. Okay so this is our second meeting. And uh still failing? Ma Walters: Yeah. Susan Cox: Uh now we're going um into the functional design. Um important thing of this phase is that we're going to uh try to get an agreement about the user requirements, technical function design, and the working design. So that we can move onto the second uh phase. But first this phase. Um first an announcement. There's a little adaptation in the air conditioning system. There's our ghost mouse again. That that means that you can have a little trouble with, little trouble with the air conditioning, that's because of this uh Tracie Hansen: Okay. Ma Walters: Okay. Susan Cox: It's in wing C_ and E_. So it should be over in a in a while, couple of days. But it's going to be cold anyway, so I don't think you're gonna need it. Ma Walters: No. Susan Cox: Then our agenda. Now first the opening. Uh this time I will take the minutes. Uh you're going to have a presentation. All of you. Um and we've got forty minutes for the whole uh prese for the whole uh presentations. So uh I suggest we take about seven minutes per presentation, and then we can have a little discussion about the new project requirements uh which have been sent to Ma Walters. And then the decision on the control functions uh which we wanna include and those which we don't wanna include. So we've got forty minutes for all of it. So I suggest um let's start with the first presentation. Ma Walters: Yes Susan Cox: Um who wants to be first? Ma Walters: Think I'll go first. Susan Cox: Okay. So Just maybe it's easier if you um Yeah I think you will tell your presentation as well. Just which function you have and what you're gonna talk about. Ma Walters: 'Kay. My name is Freek Van Ponnen. I'm the Market Expert. But you already knew that. Um I've done some research. We have we uh have been doing research in a usability lab where we observed um users operating remote controls. Uh we let them fill out a questionnaire. We had one hundred of these uh test subjects. Uh in we did research. Uh see what market consists of ages are involved. Well these are three quite astonishing results, I thought. Um remotes are being considered ugly. F uh seventy five percent of the um people questioned uh indicated that they thought their remote were was ugly. Um and an additional eighty percent indicated that they would spend more money on a fancy-looking remote control. So Um in addition remotes were not very functional. Fifty percent of the people indicated they only loo used about ten percent of the buttons on a remote control. And fifty percent of the people indicated that their remote tended to get lost in their room. So Tracie Hansen: Mm. Ma Walters: some things. Then we did some research to the most relevant functions. Channel selection and volume selection um both got a ten on a scale of one to ten for relevancy. The power button got a nine. And teletext got a six and a half. So these are the most most uh important functions on a remote control. Then there are some one-time use function. That's what I like to call them. That uh audio settings, video settings, and channel settings buttons. Which are not really used very frequently, but are still considered to be of some importance. Um channel selection was also indicated to be used very frequently. One hundred and sixty eight times per hour. Then these are the This is the market. Um sixty percent of the market consists of users between the ages sixteen and forty f six. Um Main characteristic of this group is that they're very critical on the remote control. Um they like to use new f new functions. But they also are very critical. They won't spend their money very easily. So Um the users of forty six to sixty five years cons The make up forty percent of the market. They are not really very interested in features. But they do tend to spend their money a lot easier. Um What I think this indicates for our um design. I think we should make a remote for the future. And this means we would um have to focus on the age ages sixteen to forty five. Uh this also makes up most the biggest part of the market, so that will also be where our main profit would be gettable. Um this would mean we would have to make a fancy design. Um The results also indicated that um about one quarter of the people questioned thought that the remote control caused R_S_ R_S_I_. Um this is certainly something to take into account. And thirty four percent thought that it was hard to learn a n how to operate a new control, remote control. So these are two factors that I think should be included in the design. Besides of course that the remote must look very nice. And the functionality As a lot of people indicated, they only use about ten percent of the buttons, I think we should make very few buttons. Uh this will also be uh beneficial to the design of the remote. Uh I think the most frequently used buttons should be emphasised. Especially the channel selection and audio uh selection buttons. 'Cause they're used most and so they should be robust. They shouldn't break down easily. Um Then as mo as a lot of people indicated that their um remote got lost in the room, it might be and I say might be because it would um certainly boost the uh production costs a lot. But it might be a good idea to make a docking station. And this would, could get a button in it which would send a signal to the remote which would then beep. So you'd know where it is in the room. And in addition to this it could um recharge the batteries in the remote if you put it in. Then um a surprisingly great deal of people w indicated that um an L_C_D_ screen in the remote control would be preferred. This was um mostly people in the age of sixteen to twenty five. But up till forty five it remains feasible. This would also greatly increase the production costs but I think these are just some small factors we could consider. Susan Cox: Okay. Ma Walters: That would be all. Susan Cox: Thank you. So anybody have um any questions Ma Walters: Any questions? Susan Cox: until now? Tracie Hansen: Mm-hmm. Susan Cox: About functional requirements? Kathy Fowler: No. Susan Cox: Okay that's clear. Ma Walters: 'Kay. Susan Cox: Now to the second. Tracie Hansen: Uh okay. I've been looking at uh the user interface of it. Susan Cox: Yeah. Tracie Hansen: Um f for the techno f functions uh of of it. Um Susan Cox: Yeah you can Tracie Hansen: Okay. Susan Cox: take your time. We've got uh Tracie Hansen: Mm? Susan Cox: plenty Ma Walters: Yeah Susan Cox: of Ma Walters: you should Susan Cox: time, Ma Walters: go to Susan Cox: so Ma Walters: the Tracie Hansen: Oh. Ma Walters: top thingy. Tracie Hansen: Uh. Ma Walters: Slide show. Oh Susan Cox: Yeah. Ma Walters: yeah. Tracie Hansen: Okay. Susan Cox: There it is. Yeah. Tracie Hansen: Um yeah. I think uh we uh must use the general functions uh of the uh remote control. Uh uh I've do I've uh done a little uh research on the internet and not much information about it, Um about uh interface but uh Uh Yeah I I've been thinking about a simple manner uh to put a lot of functions uh uh in one um in one uh remote control. Uh so uh you've got a lot of devi uh devices like uh D_V_D_ uh uh television, uh stereo. So um But uh it must be uh user-friendly. So um uh you c you can't put a a lot of uh functions uh in one uh Yeah. Uh uh uh Yeah. In one um remote Susan Cox: One Tracie Hansen: control. Susan Cox: remote. Tracie Hansen: But um Yeah. Um yeah. Got uh many functions in one uh remote control, um but um yeah you can see, this is uh quite simple uh remote control. Um few uh buttons but uh This uh re uh remote control got a a lot of uh buttons. Um uh people uh don't like it, uh so um Well what uh I was uh thinking about was um uh keep the general functions uh like they are. So uh like uh the on-off uh button. Uh keep it uh yeah l like a red button. Uh everybody everybody knows it so uh uh you don't have to change that. Um My personal uh preferences um. Use a display for uh specific uh functions of the different uh device. So um Wh what I was th uh thinking about was um you've got um Tracie Hansen: Uh this the remote control uh and uh you got here the general functions, uh like uh the on-off button uh sound uh I dunno um And um here you've got a s kind of a display. It's a touchscreen. So um yeah you got a general f uh f the functions of the device uh for a D_V_D_ player or uh so um the pl yeah um f for uh playing uh reverse uh. And um you got here uh real buttons for uh selecting uh a device. So um this button is for a D_V_D_ or So um for every um device you've got a uh a f a b a part uh display of a part buttons. So uh you you never got uh all the buttons uh on w one device. So Susan Cox: Hmm. Tracie Hansen: uh that's uh my uh idea about it. Susan Cox: 'Kay. Tracie Hansen: Um yeah and Uh let's see. Uh yeah. So a touchscreen. Uh and um th the buttons uh the real buttons uh we have to use um. We better c um uh use uh quite uh large buttons uh for um yeah. Everybody uh have to use it so Uh ol even even old people um young people. So uh we must keep uh buttons uh quite s uh simple and quite large. So uh Susan Cox: Yeah. Tracie Hansen: Um Yeah. Uh yeah. That was uh my uh Susan Cox: Okay. Tracie Hansen: part of it. So Susan Cox: Anybody has questions about the technical functions? Kathy Fowler: Well I think if we are gonna a uh we're gonna above the twelve and a half Euros. Tracie Hansen: N Susan Cox: Yeah. Tracie Hansen: I I don't think so. Uh you got uh quite a cheap uh touchscreen. Susan Cox: Touchscreen. Tracie Hansen: S um it's uh not uh in colour or something. Uh it's just uh um one colo Uh yeah. Uh I seen uh w uh something on the internet uh not today but uh a few uh weeks ago. Uh you got uh yeah quite an uh a kind of uh touchscreen um and it's uh for uh twenty uh Euros or uh less uh. Susan Cox: Huh. Tracie Hansen: So Ma Walters: Hmm. Tracie Hansen: it's possible. Susan Cox: 'Kay. That's nice. Ma Walters: Well it would Susan Cox: Uh Ma Walters: certainly make a fancy design. Tracie Hansen: Yeah. Susan Cox: Yeah. Kathy Fowler: But Ma Walters: So Kathy Fowler: the It wouldn't be very robust. It's very fragile and you can get scratches on it. Ma Walters: That is true. Susan Cox: That's Tracie Hansen: Yeah that's true. Ma Walters: We Susan Cox: right. Ma Walters: would have Susan Cox: Uh Ma Walters: to look into that. Susan Cox: maybe we can first um listen to your presentation? Uh Tracie Hansen: Uh. Ma Walters: Yeah. Kathy Fowler: That's. Susan Cox: And then we have a little discussion about the requirements and uh Kathy Fowler: Okay. Susan Cox: design. Susan Cox: I think it's going to Uh it's not too much. Okay. Kathy Fowler: Okay I've got a presentation about the working design. Um first about how it works. It's really simple of course. Everybody knows how a remote works. The user presses a button. The remote determines what button it is, The T_V_ switches to the frequency, or what function it is. So we've got um the the plate. It gots conductive disks for every button. When the user presses a button, a signal got sent, goes to the LED and transmits tranmi transmits its to the T_V_. It's a very simple device, technically speaking. So this is a schematic overview. You've got the buttons. The power source. And uh when a button gets pressed, its goes to the chip. The chip uh controls the infrared bulb and perf perhaps a normal bulb. When you press a button you can actually see your pressed button. Well um I think we should use default materials, simple plastics. Keep the inner workings simple, so it's robust. Uh I think we should focus on aesthetics, the design and the user interface, because if you're going to use high-tech materials the price is going to go sky-high. And uh you only have to design a remote once, and if you use high-tech materials it come back in every product. So it's, in my idea, it's uh it's gonna be smart to invest in di in design and not in uh in the product itself. That's it. Susan Cox: Okay. Thank you. Susan Cox: Okay. Uh Okay now I hope everybody has a little bit more insight in the functions we all have and what we are doing right now. Um I'm Susan Cox so I'm here to mess things up and uh tell you some new uh requirements. Um that's, we've uh got to design a um remote which is only suitable for T_V_. Um that's because Tracie Hansen: Okay. Susan Cox: uh it will be too complex and the time to market will be too big, if we wanna have it uh for more functions. Tracie Hansen: Mm. Susan Cox: So it has to be simple. Uh another point is we have to skip the teletext, because in the world of uh upcoming internet uh we think teletext is going to be uh a thing of the past. And uh it's a function we don't need in our remote control. Um internet is also mentioned in a function we can use. Uh maybe also on televisions it will be available as well. Another one is uh the customer is uh forty plus. Uh that's the the market we have to to to target, because we are going to develop a new product which is specially designed for the younger customers. Um this is uh a bit pity for the Marketing uh Expert. Because he was uh aiming on the the younger persons. So we have to find a market which is above forty plus uh but which will suit our uh remote control, and the other way round. And we have to be very uh attent in uh putting the corporate image uh in our product. So it has to be visible in our design, in the way our device works. And uh we have to be uh very clear on this point as well. So I suggest let's have a discussion on the control functions. Yeah. Ma Walters: So is there any discussion possible about the new product requirement? Susan Cox: Uh we can see if we can find a way uh between the functions we wanna use and the market we wanna reach with our product. Tracie Hansen: Mm. Susan Cox: Um Ma Walters: Yeah 'cause you're you're saying that teletext is gonna be an old feature and it's not gonna be used anymore anyway pretty soon. And new T_V_s will have internet access on them. Ma Walters: within the next like twenty years is very slim. In Tracie Hansen: Yeah. Ma Walters: addition people indicated that teletext simply was an important feature for the remote control. So I think it's pretty dumb to put no teletext feature on it. I'm pretty much against it. Susan Cox: Against the no Tracie Hansen: Mm. Susan Cox: teletext? Ma Walters: Yes. Susan Cox: Um Ma Walters: Besides that, I think the market for forty plus is like pretty small. But Susan Cox: Yeah Ma Walters: I mean if Susan Cox: it's Ma Walters: I Susan Cox: it Ma Walters: s if Susan Cox: is Ma Walters: I see Tracie Hansen: forty Ma Walters: this, it's I think we're just gonna go for another Susan Cox: Standard remote. Ma Walters: pretty Susan Cox: No I think Ma Walters: and Susan Cox: we can Ma Walters: not innovative Susan Cox: I think Ma Walters: remote Susan Cox: we Ma Walters: control. Susan Cox: can do a lot with the design and the simple buttons which were also mentioned. Uh if we put a lot of effort in those, we can make a remote control with uh just two or three buttons. Or just a remote which is suitable for the market we wanna reach because Tracie Hansen: Yeah. Susan Cox: it is forty percent of the market. And um if you look in Holland at the whole generation of forty plus, fifty plus, it it's the the biggest share of the of the whole population now. Ma Walters: Yes but it's not the biggest part of the market. Susan Cox: No. Ma Walters: And besides that, they're not very critical so I mean they don't really care what the remote control is like. They'll just pretty much take the first thing they see and which looks acceptable. Susan Cox: But don't you think that Susan Cox: people think that's the the device I've looked for although I didn't realise it. So let's try it. Ma Walters: No. I think that would be the case in the sixteen to forty five age category. because they are critical and they they want to have a fancy remote control. Tracie Hansen: Yeah. Ma Walters: People of forty plus, I mean they want it to work, but as soo as soon as it works it's okay with them. Tracie Hansen: Mm. Susan Cox: Yeah. Kathy Fowler: I think that if Ma Walters: So Kathy Fowler: we're If we put our marketing right um we can sell this just like um I don't know if you've heard about it in the news, the the elderly mobile phone? Susan Cox: Yeah. It's a big success. Kathy Fowler: Yeah if we Ma Walters: I haven't Kathy Fowler: if we Ma Walters: heard Kathy Fowler: make Susan Cox: Very Ma Walters: of Kathy Fowler: a Susan Cox: big Kathy Fowler: remote Ma Walters: it. Susan Cox: success. Kathy Fowler: control just Susan Cox: Yeah. Kathy Fowler: l with that idea in mind, we could make tons of money, I think. Ma Walters: Hmm. Susan Cox: Uh. Tracie Hansen: Mm. Kathy Fowler: We Susan Cox: I Kathy Fowler: don't have Susan Cox: think Kathy Fowler: to focus Susan Cox: so as well. Kathy Fowler: on on on the on the design then but on functionality. We just change our focus on the project, and I think we can uh we can sell this. Susan Cox: Uh I simply think um uh that the new products we are gonna make, uh spef specifically design, are designed for uh younger people, uh so maybe we can focus ourself on the elderly people. And I think we have to um see what requirements we need for those um remote controls. 'Cause what you told is the channel selection is important. Ma Walters: Yes. Susan Cox: Volume selection, Tracie Hansen: Mm. Susan Cox: power and teletext. Ma Walters: Yes. Susan Cox: Okay. Tracie Hansen: Yeah. Susan Cox: Um Ma Walters: But obviously the board tends to disagree. Susan Cox: No we we haven't voted yet, so Uh I think teletext can be uh um can be a function as well. But only if uh if it won't higher the the cost, because I don't know if it will be a lot more money to implement teletext as well, but I don't think it will be a problem. Or is teletext Tracie Hansen: But Susan Cox: a Tracie Hansen: um deaf people need uh teletext for uh for Susan Cox: Yeah. Tracie Hansen: subtitles. Ma Walters: Yeah, also. Tracie Hansen: So it's Yeah. Susan Cox: Yeah. So I suggest Ma Walters: I think Susan Cox: uh Ma Walters: it'd definitely Tracie Hansen: It's Ma Walters: be a bad idea not to include Tracie Hansen: Mm. Susan Cox: Yeah. Ma Walters: teletext. Susan Cox: Is anybody um really against teletext? Kathy Fowler: No. Susan Cox: No? Just that, that we just keep the teletext. I think that's a good idea as well, especially for the subtitles. Maybe we can make that um another point of advantage in our remote control, if we uh make a k a button ex for example for big subtitles, which is instantly on the remote control. Tracie Hansen: Yeah Susan Cox: For elderly Tracie Hansen: yeah. Susan Cox: people they can think, oh I wanna have subtitles, and they push the button and they get the big subtitles. Kathy Fowler: Uh that's Tracie Hansen: Yeah. Kathy Fowler: a good idea. Tracie Hansen: Yeah. Susan Cox: Um so I think teletext can v can be very useful in our advantage. Um Functionality should be few buttons, you said. Ma Walters: Yes. Susan Cox: I think Tracie Hansen: Yeah. Susan Cox: uh that's very important we have a few buttons. Ma Walters: Mm-hmm. Susan Cox: So to keep it Ma Walters: But Susan Cox: simple. Ma Walters: I don't think that's really an issue any more 'cause Well might be. Tracie Hansen: If it's Ma Walters: But I mean Tracie Hansen: only Ma Walters: it, Tracie Hansen: for Ma Walters: if Tracie Hansen: televi Ma Walters: it's only for T_V_ Tracie Hansen: Yeah. Ma Walters: you're not gonna need a lot of buttons Tracie Hansen: Yeah. Ma Walters: anyway. You Susan Cox: No. Ma Walters: need a one to zero button, Tracie Hansen: Yeah. Ma Walters: next channel, previous channel, volume up, volume down, and some teletext buttons but Susan Cox: Yeah. But Ma Walters: I Susan Cox: do Ma Walters: think Susan Cox: you Ma Walters: if Susan Cox: need Tracie Hansen: So Ma Walters: you Tracie Hansen: we Ma Walters: if you only Tracie Hansen: can s Ma Walters: l Tracie Hansen: we can skip the display, so uh we Susan Cox: But Tracie Hansen: don't need it. Ma Walters: Nah. Susan Cox: do you need the buttons for one to zero. Maybe Tracie Hansen: Uh Susan Cox: c Ma Walters: Think Susan Cox: we can Ma Walters: if you're gonna include teletext you do. I think many people like to use that. Susan Cox: Maybe we Ma Walters: 'Cause Susan Cox: can Tracie Hansen: Yeah. Ma Walters: if Susan Cox: use Ma Walters: you should, Susan Cox: uh Ma Walters: if you want to switch from channel one to like thirty five, you don't wanna push the next channel button thirty Tracie Hansen: Yeah. Ma Walters: five times. Susan Cox: No, maybe we can implement the scroll button? Or a joystick Tracie Hansen: Mm. Susan Cox: like? There are other ways too. Just look if you look at telephones. Tracie Hansen: Yeah. Susan Cox: The Sony telephone has a scroll Tracie Hansen: Mm-hmm. Susan Cox: button which is very useful in Tracie Hansen: Yeah. Susan Cox: searching names or Ma Walters: That's true but um I don't think there are many T_V_s that can switch channels that fast. And so you would need like the T_V_ would need an a function where you can actually view all channels and scroll through it. And I dunno if many channels would do have that. If many T_V_s have that. Kathy Fowler: Yeah. Tracie Hansen: Mm. Kathy Fowler: And besides that it's um If we're gonna focus on elderly people they'll have to adapt. They're not used to using scroll buttons. Susan Cox: That's Kathy Fowler: So Susan Cox: right. Ma Walters: Mm-hmm. Tracie Hansen: Mm. Kathy Fowler: perhaps we should s stick to the basic layout. Susan Cox: the numbers yeah. Yeah they can see how much buttons there are going to be on on the display, and if it's too much we can uh reconsider it. But I think Tracie Hansen: Yeah. Susan Cox: there won't be very much buttons. Or there don't Ma Walters: But Susan Cox: have to be Ma Walters: I don't Susan Cox: a lot. Ma Walters: think I think if you're gonna make a remote control only to operate a T_V_, you there's not much you can gain on um having as few buttons as possible. 'Cause I think there are pretty many remote controls that can only operate a T_V_, which already only have the minimum number of buttons. I don't think there's much to be gained in that area. Susan Cox: The Tracie Hansen: Hmm. Susan Cox: number of buttons? Ma Walters: Yeah. Susan Cox: I think it's very important in the in the design. You can make a very fancy design uh with putting the buttons on the right places. And if you have less buttons you can do a lot more with Ma Walters: That is true but I think there's simply not much to gain on the competition when you when you're making a remote control only for to operate only the T_V_. Susan Cox: To operate only Ma Walters: 'Cause Susan Cox: the T_V_ Ma Walters: if you have Susan Cox: yeah. Ma Walters: a a remote control only to operate a T_V_ there's simply not a lot of buttons required. There's not a lot of functions required so most existing remote controls simply don't have a lot of buttons either. Susan Cox: No. Tracie Hansen: No. Susan Cox: So. Ma Walters: So I think it would be very hard to actually gain on the competition here. Susan Cox: 'Kay. So we Ma Walters: That would Susan Cox: can Ma Walters: that would cost a a big marketing expedition Susan Cox: Yeah. That's right. Ma Walters: which was one of the arguments to make it only for the T_V_ because we didn't have the time to market a lot. Susan Cox: Yeah. So you suggest we could better um focus on for example the docking station. Uh uh like other functions. Instead Ma Walters: Maybe. Susan Cox: of f of less buttons. Ma Walters: Well yeah I think, mean we obviously need a good way to position all the buttons and But I don't think we should spend very much time in that. Susan Cox: Mm. No. Do you think the docking station will uh is allowed in the budget we have? Kathy Fowler: It should be possible yes. Susan Cox: 'Cause it Kathy Fowler: If it's Tracie Hansen: No. Susan Cox: can Kathy Fowler: not Susan Cox: be Kathy Fowler: too fancy. And Susan Cox: No. Kathy Fowler: if the remote stays rather small, it should be possible yeah. Susan Cox: Yeah. Tracie Hansen: No. Susan Cox: Because I think that's uh That's a good advantage point as well. If we have a fancy-looking Kathy Fowler: Yes. Susan Cox: docking station or very Tracie Hansen: Hmm. Susan Cox: That's a nice requirement. Docking station. Kathy Fowler: So we're just gonna focus on the extras? Susan Cox: I think so. Kathy Fowler: Yeah. Tracie Hansen: Mm. Ma Walters: Yeah I think maybe we should do some research into what elderly people like to have in a Susan Cox: Yeah. Ma Walters: like to have extra in a new remote control. Susan Cox: That's a good point. Um You said they easily get lost as well. Ma Walters: Yes well fifty percent of the people indicated that remote Susan Cox: Yeah. Ma Walters: control tended to get lost. Susan Cox: So maybe we should implement the audio sign, or something. Ma Walters: Yeah that was what I suggested. Susan Cox: Yeah. Kathy Fowler: Like with Ma Walters: You Kathy Fowler: your Ma Walters: have it Kathy Fowler: key-chain, Ma Walters: on Kathy Fowler: if you Susan Cox: Yeah. Kathy Fowler: whistle it goes Ma Walters: Yeah Kathy Fowler: uh it makes Tracie Hansen: Hm. Kathy Fowler: a sound. Ma Walters: you have it's on some phones too, which have a docking station. Kathy Fowler: Yeah. Ma Walters: And you just press a button and the phone goes ringing. Susan Cox: Yeah. So Ma Walters: So you know where it is. Susan Cox: audio signal should be possible as well. I think it's not too expensive. Tracie Hansen: No. Susan Cox: Uh another point is the L_C_D_ screen. Um I don't know if that will rise the cost too much, Kathy Fowler: Y Susan Cox: because Kathy Fowler: i um I think we'll have to choose between the docking station or the screen, 'cause Susan Cox: Yeah. Kathy Fowler: it's uh Tracie Hansen: Mm. Susan Cox: It will be too much as well. Ma Walters: I think since a lot of people indicated that a new remote control is hard to learn, and we're focusing on elderly people here which tend to have a hard time understanding new devices, it might be a good idea to have just a little screen on it, which would explain a button if you press it. Which would tell you what it does. Susan Cox: Yeah. Ma Walters: And it wouldn't have to be touchscreen or Susan Cox: Based. Ma Walters: a very expensive Tracie Hansen: Okay. Ma Walters: screen, but Tracie Hansen: Yeah. Susan Cox: Just the L_C_D_. Oh just the normal screen. Ma Walters: Just a small Susan Cox: That's a good Ma Walters: screen Susan Cox: idea. Ma Walters: with two Susan Cox: So Some extra info. Feedback. Ma Walters: Yeah. Susan Cox: Yeah. Tracie Hansen: Yeah. Susan Cox: I think that's a good idea as well. Ma Walters: But I dunno if that would Susan Cox: As the small Ma Walters: that would Susan Cox: screen. Ma Walters: fit into the costs. Susan Cox: Extra button info. I think that should be possible as well. Um let's see what did we say. Mm. More. Should be fancy to, fancy design, easy to learn. Few buttons, we talked about that. Docking station, L_C_D_. Um general functions Yeah. 'Kay. And default materials. I think that's a good idea as well, because um elderly people don't mind if it's a titanium cover or just a plastic one. So Ma Walters: No. Susan Cox: that Tracie Hansen: Mm. Susan Cox: doesn't really matter. So I think Ma Walters: I think Susan Cox: we Ma Walters: probably Susan Cox: nee Ma Walters: elderly people would be a little bit more careful with their remote controls than youngsters. Susan Cox: Uh let's um specify the target group. Because are we talking about elderly elderly people or people from forty to eighty. Because I think what we're going to design now is for people above sixty, maybe. Tracie Hansen: Mm. Ma Walters: Yeah. Tracie Hansen: Yeah. Susan Cox: Uh what do we want? Ma Walters: I think Susan Cox: If we want um a with uh for example the the telephone for elderly people, we can target the real elderly people. Ma Walters: I think that would be a If we should do something like that it would be a, I think it would be really good for uh for the image of the company. Susan Cox: Yeah. Ma Walters: And I think, I think there would be a good market for it. Susan Cox: So that's Ma Walters: If Susan Cox: the Ma Walters: we're able to really bring an innovative product. Susan Cox: Now you're talking about sixty to eighty for example. Ma Walters: Yeah the really Susan Cox: Yeah. Tracie Hansen: Mm. Ma Walters: But Susan Cox: Sixty. Ma Walters: I'd have to look into that a little more. Susan Cox: Okay. And different cultures. Are we Kathy Fowler: Well I don't think they have different television sets uh Tracie Hansen: Mm. Susan Cox: Okay. Kathy Fowler: in uh every country. Susan Cox: No. Tracie Hansen: No. Kathy Fowler: 'Cause Susan Cox: We've got five minutes Tracie Hansen: So Susan Cox: left just Tracie Hansen: 'Kay. Susan Cox: now. Ma Walters: 'Kay. Susan Cox: Small warning. Ma Walters: And with uh the little screen in it, which explains the buttons. Susan Cox: Should Ma Walters: You could I think we n it would be a lot easier to adapt it to different cultures. Susan Cox: Yeah. In different languages, you Ma Walters: Yeah. Susan Cox: know. Kathy Fowler: Yeah. Susan Cox: Yeah. Tracie Hansen: Yeah. Susan Cox: or you have to put a Tracie Hansen: Right. Susan Cox: language button in it, but that will be Tracie Hansen: No. Susan Cox: a bit unnecessary Tracie Hansen: Yeah. Susan Cox: I think. Ma Walters: Yeah. Susan Cox: It's better to put it on different markets with it all. Tracie Hansen: Yeah. Kathy Fowler: Yeah. Susan Cox: Okay. So that's the the target. Uh then a few small things. Uh okay. I will put the minutes in the project uh project document folder. Um what we're going to do for the next meeting is Kathy Fowler will do the components concept, User Interface Designer the user interface concept, and the trend-watching. So just keep in mind the things we've said about the target group, uh requirements, and the trends which are uh going on. And uh specific instructions will be sent to you by uh the personal coach. Ma Walters: 'Kay. Susan Cox: So um I thank you for this meeting. And I think we have a lunch-break now. Ma Walters: That's good. Tracie Hansen: Yeah. Susan Cox: So that's a good thing.

Susan Cox stated the agenda and Ma Walters discussed what functions are most relevant on a remote, what the target demographic is, and what his vision for the appearance of the remote is. Ma Walters also brought up the idea to include a docking station to prevent the remote from getting lost and the idea to include an LCD screen. Tracie Hansen pushed for a user-friendly interface with large buttons, a display function, a touchscreen, and the capability of controlling different devices. Kathy Fowler discussed the interior workings of a remote and Susan Cox briefed the team on some new requirements they are to abide by. The team then discussed teletext, the target demographic, the buttons the remote should have, the idea of marketing a remote designed for the elderly, an audio signal which can sound if the remote is lost, LCD screens, and language options.

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train

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

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

Alejandra Hernandez reviewed the minutes from the previous meeting. Lenore Rivera 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. Mary Romon 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. Charlene Mitchell 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. Mary Romon and Charlene Mitchell were instructed to draw the prototype at the next meeting, and Mary Romon 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.

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Shirley Zavala: Oh. Patty Hutchinson: It's not saved yet. Esther Morton: Okay. Patty Hutchinson: So Shirley Zavala: Okay. Patty Hutchinson: Our beautiful. Shirley Zavala: So just f um Shirley Zavala: So is our agenda. You're F You're going to show your pr prototype presentation after Annie Bosch. Annie Bosch: Oops. Esther Morton: Okay. Shirley Zavala: Uh I didn't Oh yeah. So these are the Esther Morton: Oh, okay. Yeah. Shirley Zavala: So these are the um last notes we I made. If anything doesn't look right, just say it to Annie Bosch then. I don't have to put it in the report. Patty Hutchinson: Are we doing the the speech recognition? Because we didn't have enough time to uh de um design the inside as well. Shirley Zavala: Okay, but it's still possible uh uh financially. So if you want to, it's okay. Patty Hutchinson: Okay yeah. Well then then we're gonna put it in. Shirley Zavala: Okay, just Patty Hutchinson: Yeah, just uh we have to design the inside then, but it should Esther Morton: Yeah, Patty Hutchinson: be Esther Morton: and Patty Hutchinson: uh Esther Morton: Or are we making a slide open, like underneath? Or fold open? I don't know. Shirley Zavala: Slide open is Esther Morton: It's Shirley Zavala: uh Esther Morton: probably Shirley Zavala: quite Esther Morton: better. Shirley Zavala: usable for remote controls. Esther Morton: Yeah, s Like underneath uh you can slide it open and Patty Hutchinson: It's Esther Morton: you Patty Hutchinson: may Esther Morton: other Patty Hutchinson: maybe Esther Morton: functions. Shirley Zavala: Maybe Patty Hutchinson: uh a Shirley Zavala: that's Patty Hutchinson: bit stronger Shirley Zavala: better. Patty Hutchinson: as well. Esther Morton: Yeah. Shirley Zavala: Yeah, that's that's a very good point. Patty Hutchinson: Okay, Esther Morton: Think Patty Hutchinson: so Esther Morton: that's better. Patty Hutchinson: when you have a lot of room inside. So you make it very easy to use. 'Cause Shirley Zavala: Yeah. Patty Hutchinson: can write a lot of comments besides it. Shirley Zavala: Okay. So this is okay? Patty Hutchinson: No. Yeah, we're gonna use the advanced chip then. Shirley Zavala: Okay, so that's Uh I'll just Esther Morton: The Shirley Zavala: have a look how much that is. But um Patty Hutchinson: Advanced chip Shirley Zavala: Okay, Patty Hutchinson: was for Shirley Zavala: for the Patty Hutchinson: uh spee Yeah. Esther Morton: Yeah, I Shirley Zavala: Okay. Esther Morton: I think so. I don't know. Shirley Zavala: No, you have a different chip for speech recognition. So Patty Hutchinson: Okay. Esther Morton: Ah okay. Shirley Zavala: So I already calculated that and it's still in the budget. So it's okay. Patty Hutchinson: Good. Shirley Zavala: So you can show your prototype if you want to. Esther Morton: Yeah. Patty Hutchinson: Together? Esther Morton: Yeah, it's Let's do it together. Patty Hutchinson: I'll give comments. Esther Morton: Okay. Yeah we just made a Word file the basic elements. Uh the look-and-feel model. Uh well the form, the case um as drawn there. Simply a square with uh round corners. So that's basically it. Uh the material should be hard plastic. Annie Bosch: Mm-hmm. Esther Morton: Uh colour changeable, and also transparent. And colour and transparent, or just transparent, I don't know. Um then the elements. Uh we have The functions are just basic. Like uh I've pointed them here. Mute function, on-off function, text functions. This uh switch channel. Shirley Zavala: Okay, cool. Esther Morton: And this is the the num-pad. And the logo is over here, and the mic. Shirley Zavala: Okay. Esther Morton: And the scrollwheel, no? You Annie Bosch: Means Esther Morton: operate that with your pointing finger. So you hold it like this in your right hand and Shirley Zavala: Mm. So how many functions do you need for for uh the microphone? Patty Hutchinson: Speech recognition. Shirley Zavala: Yeah, speech recognition. Just Patty Hutchinson: Um Shirley Zavala: Only one button to say Patty Hutchinson: I Shirley Zavala: it's Patty Hutchinson: didn't Shirley Zavala: on Patty Hutchinson: have Shirley Zavala: or off. Patty Hutchinson: a specification of that. But um Esther Morton: Uh Patty Hutchinson: I Esther Morton: I dunno. Patty Hutchinson: can imagine that you have to input your voice or something. Um Esther Morton: Yeah, maybe maybe Patty Hutchinson: so I've Esther Morton: uh you have to configure it. Patty Hutchinson: Yes, you need options to configure it, and after that you don't need 'em anymore. Shirley Zavala: So you can put it on the back as well if you Patty Hutchinson: Yeah, Shirley Zavala: want to. Patty Hutchinson: you can Esther Morton: Yeah, Patty Hutchinson: put Esther Morton: or Patty Hutchinson: 'em all on Esther Morton: or Patty Hutchinson: the back. Esther Morton: on the slide Patty Hutchinson: That's for sure. Esther Morton: function, I don't know. Shirley Zavala: Okay. Patty Hutchinson: That's Annie Bosch: Okay. Patty Hutchinson: uh Esther Morton: Well we haven't had time to design that, the slide Patty Hutchinson: We also Esther Morton: pad. Patty Hutchinson: don't know how many buttons are required, or what kind of buttons. But You have a lot of room if you can slide it open. Shirley Zavala: Yeah, you can Patty Hutchinson: You Shirley Zavala: put Patty Hutchinson: Yeah Shirley Zavala: it Patty Hutchinson: I know. Shirley Zavala: separate. Patty Hutchinson: I can imagine you need at least four buttons or something. So But Esther Morton: Yeah. Patty Hutchinson: it's enough room. Esther Morton: Um the position? Yeah, you write uh Patty Hutchinson: Uh Esther Morton: You wrote Patty Hutchinson: well Esther Morton: this, so. Patty Hutchinson: Well the main, the main zap buttons are most central. That was the the most important thing. So uh the best place, the best reach place Um on-off buttons, text buttons, mute buttons are together and at a place they easily are, easy to find. Um the on-off button is a bit bigger, uh so it stands out. That way you don't have to make it red, 'cause it's will uh will show up. Uh scrollwheel is on the left side. It's basically the be standard place for scrollwheel, as Esther Morton: Yeah. Patty Hutchinson: far as I know. Esther Morton: But it's not uh impossible to use it, if you're left handed. So y Patty Hutchinson: Yeah. Esther Morton: Because you can use your thumb then. Annie Bosch: Just just one thing now. Um y you need to have more uh one two th You've got one two three four five six seven eight Patty Hutchinson: Okay Annie Bosch: nine. Patty Hutchinson: yeah, they Annie Bosch: But you missed the no uh the zero Esther Morton: Mm Annie Bosch: and Esther Morton: yeah. Annie Bosch: uh Patty Hutchinson: Yeah Annie Bosch: the two Patty Hutchinson: okay. Annie Bosch: stripes. Patty Hutchinson: That's that's Esther Morton: Yeah, Patty Hutchinson: below Esther Morton: okay. Patty Hutchinson: that then. It's uh twelve Esther Morton: just Patty Hutchinson: buttons. Esther Morton: so you get that. Annie Bosch: Okay, but It's rather important. Patty Hutchinson: Yeah okay, Esther Morton: Yeah. Patty Hutchinson: just we just missed that. But um I'll just uh I'll get back to later. F the form well, we've taken that from the iPod, other popular technical device. So um should be popular. Um The f uh the buttons creating? Uh if you That or all round shapes, not uh rounded corners. Shirley Zavala: Okay. Patty Hutchinson: So that, you know, you get a bit round feeling. Um we'll use hard plastic. Since that allows us to use uh two D_ buttons, uh non-rubber buttons. Colour changeable. Well and um the backlight thing, the thing that lights up. We have decided uh in the the channel buttons, there's a little uh colour around it. Annie Bosch: Okay. Patty Hutchinson: And also in the num-pads, there's also colour light behind it. Shirley Zavala: And Patty Hutchinson: So Shirley Zavala: do Patty Hutchinson: when Shirley Zavala: you Patty Hutchinson: you Shirley Zavala: still Patty Hutchinson: pre Shirley Zavala: can, do you still can choose what colour, kind of colour you want? Patty Hutchinson: Yeah. Shirley Zavala: How do you want to implement that? Just Patty Hutchinson: We're Shirley Zavala: on the Patty Hutchinson: going Shirley Zavala: Maybe Patty Hutchinson: to Shirley Zavala: on Patty Hutchinson: implement. Shirley Zavala: the second level as well? Patty Hutchinson: Yeah. Mm just a little Annie Bosch: Ah. Esther Morton: Yeah, these are just basic functions, so All the non-basic Shirley Zavala: Okay, just Esther Morton: are Shirley Zavala: draw Esther Morton: in Shirley Zavala: draw the second level, because we need that as well. Esther Morton: Okay. Patty Hutchinson: Yeah. Esther Morton: Um Annie Bosch: Okay, there is one uh function I use uh daily, and it's not on the basic functions. It's uh to switch to uh uh your Scart. Play Station or uh D_V_D_ player. That Esther Morton: Okay, Annie Bosch: function Esther Morton: maybe Annie Bosch: must be Esther Morton: we use this button for Annie Bosch: Yeah, Esther Morton: the Annie Bosch: maybe Or you can uh i uh lay it uh beneath in the uh other Patty Hutchinson: Yeah, Annie Bosch: uh Patty Hutchinson: I um Shirley Zavala: Yeah, as well. Annie Bosch: functions. Shirley Zavala: Just make Patty Hutchinson: To Shirley Zavala: make Patty Hutchinson: your video Shirley Zavala: a Patty Hutchinson: device. Esther Morton: Yeah. Shirley Zavala: Just just draw a second level one and say all options that are still left or something. Esther Morton: A second Patty Hutchinson: Yeah. Esther Morton: level? Shirley Zavala: Yeah. Esther Morton: Like a a new blank Shirley Zavala: No no, Esther Morton: one Shirley Zavala: just Esther Morton: or Shirley Zavala: on Esther Morton: Or just Shirley Zavala: Down Esther Morton: here? Shirley Zavala: there. Patty Hutchinson: Is i Ah okay. Esther Morton: Okay. Shirley Zavala: So uh Esther Morton: Yeah. Annie Bosch: And h how does Shirley Zavala: Just Annie Bosch: the Shirley Zavala: uh Annie Bosch: second Shirley Zavala: if you Annie Bosch: level Shirley Zavala: s Annie Bosch: come out? Uh it slides uh Patty Hutchinson: Um slides Annie Bosch: along? Patty Hutchinson: I think. Shirley Zavala: Yeah, y Patty Hutchinson: It's Shirley Zavala: Maybe, yeah. Annie Bosch: From from the uh Shirley Zavala: For the Patty Hutchinson: You can Shirley Zavala: bottom. Patty Hutchinson: do Annie Bosch: beneath? Patty Hutchinson: it that it claps open, but I think that's not solid enough. Shirley Zavala: No, Patty Hutchinson: If that Shirley Zavala: you Patty Hutchinson: breaks Shirley Zavala: gotta Patty Hutchinson: then Shirley Zavala: slide Patty Hutchinson: you're screwed. Shirley Zavala: it. Yeah, it's right. Patty Hutchinson: So it do doesn't even have to slide all the way open. Um Esther Morton: So what do we need? Patty Hutchinson: Uh i the the speech functions buttons. Esther Morton: Yeah, just Annie Bosch: Menu? Patty Hutchinson: Menu button. With uh maybe uh arrows. So you can uh scroll in the, navigate the menu. Um Esther Morton: God Annie Bosch: Scart? Esther Morton: damn it. Patty Hutchinson: I think we can even put a We have one for the zero and one for the Annie Bosch: Uh yeah. Patty Hutchinson: for the more digit uh Annie Bosch: And so y you Patty Hutchinson: channels. Annie Bosch: keep Patty Hutchinson: So Annie Bosch: you keep Patty Hutchinson: you have Annie Bosch: one, Patty Hutchinson: one Annie Bosch: you have Patty Hutchinson: left for Annie Bosch: one Patty Hutchinson: the Annie Bosch: left. Yes. Esther Morton: So this is Patty Hutchinson: Right, Esther Morton: the Patty Hutchinson: the video channel, Play Station, etcetera. That's used pretty often. Annie Bosch: Yeah. Patty Hutchinson: If you have a Play Annie Bosch: It's Patty Hutchinson: Station, Annie Bosch: a f Patty Hutchinson: mm Shirley Zavala: Yeah. Patty Hutchinson: you use it every day. Annie Bosch: basic uh Esther Morton: Extern or something. Shirley Zavala: You want to save that file as well? The drawing? Patty Hutchinson: That was Esther Morton: So Patty Hutchinson: it. Esther Morton: here are multiple speech buttons, I don't know how many. Patty Hutchinson: Uh Shirley Zavala: Doesn't really matter. Esther Morton: I don't Shirley Zavala: Just Esther Morton: know the Patty Hutchinson: It Esther Morton: functions. Patty Hutchinson: doesn't Shirley Zavala: just uh Patty Hutchinson: really matter. That's Esther Morton: Okay. Patty Hutchinson: Yeah well we don't Esther Morton: What Patty Hutchinson: have Esther Morton: else? Patty Hutchinson: any uh Hmm? Esther Morton: What else? Patty Hutchinson: What else? Uh menu buttons with Esther Morton: Uh menu. Patty Hutchinson: arrows. Annie Bosch: Yeah, to navigate. Esther Morton: Uh Patty Hutchinson: S Just uh Esther Morton: With arrows. Patty Hutchinson: like Um I think it's best if we do. Mm where do we have Or there. Esther Morton: Like a normal um Patty Hutchinson: Like on the normal uh Like this. Esther Morton: Yeah, with in the middle um a menu Patty Hutchinson: The menu Esther Morton: button. Patty Hutchinson: button, yes. Esther Morton: Okay. Patty Hutchinson: Well we don't have any, anything on how many buttons speech requires. So you can't redesign it. Annie Bosch: Mm okay. Shirley Zavala: Yeah. Annie Bosch: Maybe one button to switch the colour of your uh LEDs? Shirley Zavala: Yeah. Patty Hutchinson: Yep. Annie Bosch: Uh and and you can hold it, you can hold it, and then the colours switch or Shirley Zavala: Yeah. Annie Bosch: mm multiple Patty Hutchinson: Just press it once, Annie Bosch: multiple Patty Hutchinson: the Annie Bosch: buttons. Patty Hutchinson: colour should uh switch. Press again, the colour switch again maybe? Annie Bosch: okay. Shirley Zavala: Or we just make it three buttons, all the colours on it. Just red, yel Annie Bosch: Okay, Shirley Zavala: uh red, Annie Bosch: yeah. Shirley Zavala: green Annie Bosch: Th Shirley Zavala: and Annie Bosch: Yeah. If Esther Morton: Yeah, Annie Bosch: we have Esther Morton: okay. Annie Bosch: enough place, uh Shirley Zavala: That's Annie Bosch: then we Shirley Zavala: that's Annie Bosch: can do Shirley Zavala: very Annie Bosch: that. Shirley Zavala: easy, yeah. Esther Morton: We can put those here. Annie Bosch: Colour buttons. And then we choose green, uh blue and red or Shirley Zavala: Yeah. Annie Bosch: Okay. Patty Hutchinson: Yep. Shirley Zavala: Okay. Annie Bosch: Okay. That's uh Um Esther Morton: So did we miss anything? Patty Hutchinson: Yeah, Annie Bosch: It Patty Hutchinson: maybe some uh some text Annie Bosch: Some text Patty Hutchinson: next to Annie Bosch: uh Patty Hutchinson: the Annie Bosch: buttons. Patty Hutchinson: scroll wheel, that it is volume. Esther Morton: Okay. Shirley Zavala: Yeah. Annie Bosch: Yeah, but Patty Hutchinson: I Shirley Zavala: No, Patty Hutchinson: just Shirley Zavala: ma Patty Hutchinson: uh The Shirley Zavala: on Patty Hutchinson: volume Shirley Zavala: on Patty Hutchinson: logo. Annie Bosch: there's Shirley Zavala: o Annie Bosch: one Shirley Zavala: on the Annie Bosch: there's Shirley Zavala: on Annie Bosch: one Shirley Zavala: the Annie Bosch: text Esther Morton: Oh Annie Bosch: button Esther Morton: wh Annie Bosch: I Esther Morton: Here? Shirley Zavala: Yeah. Patty Hutchinson: Yeah. Esther Morton: Okay. Shirley Zavala: Just make it Annie Bosch: There's Esther Morton: Yeah, Annie Bosch: one Esther Morton: or Annie Bosch: text Esther Morton: th or Annie Bosch: button Esther Morton: the Annie Bosch: I prefer. That's the one uh that you use if you search for a page, uh like seven hundred, uh and it's counting from one hundred to two hundred, you will switch to your television and back to Patty Hutchinson: Yeah, Annie Bosch: text. Patty Hutchinson: we Esther Morton: Yeah. Patty Hutchinson: have that on the Annie Bosch: Do you do you Patty Hutchinson: the Annie Bosch: Did Patty Hutchinson: text Esther Morton: Yep. Annie Bosch: you Patty Hutchinson: button. Annie Bosch: think of that? Esther Morton: Yeah, but then you can switch back to normal telete teletext. You just Patty Hutchinson: Uh Esther Morton: switch it off and then Patty Hutchinson: why Shirley Zavala: Yeah, Patty Hutchinson: not? Shirley Zavala: just put it on those extra f extra function Annie Bosch: Ex Shirley Zavala: as Annie Bosch: Yeah. Shirley Zavala: well. Annie Bosch: Yeah. Patty Hutchinson: No Esther Morton: Well w Patty Hutchinson: Whoa Esther Morton: we thought of a text button. And if you press it again, you get the the the Patty Hutchinson: I Annie Bosch: The Patty Hutchinson: think Annie Bosch: sta the state Shirley Zavala: Oh Patty Hutchinson: um Shirley Zavala: just Annie Bosch: you Shirley Zavala: three stages, Esther Morton: through view. Shirley Zavala: you Annie Bosch: Yeah. Patty Hutchinson: Yeah, Shirley Zavala: Yeah, Esther Morton: Yeah, Shirley Zavala: that's Esther Morton: b Patty Hutchinson: the three Esther Morton: but Shirley Zavala: okay. Patty Hutchinson: stages. Esther Morton: but Patty Hutchinson: Yes. Esther Morton: if you're in the second stage, the third stage is switch teletext off. So you can switch back Patty Hutchinson: No, Esther Morton: from Patty Hutchinson: it doesn't Esther Morton: second Patty Hutchinson: have Esther Morton: to Patty Hutchinson: to Esther Morton: w Patty Hutchinson: turn Esther Morton: first. Patty Hutchinson: it off. Annie Bosch: No. Patty Hutchinson: Just don't Annie Bosch: Just remember where it was. It Patty Hutchinson: Yeah. Annie Bosch: it doesn't uh uh clear the the page. If you if you turn teletext Shirley Zavala: Yes, Annie Bosch: on, Shirley Zavala: that's to remember. Annie Bosch: you you set the seven hundred, and you turn it off, then the next time you turn it on, it still stays on Esther Morton: Okay, Annie Bosch: seven hundred? Esther Morton: okay. Shirley Zavala: Yeah, but that's Annie Bosch: But Shirley Zavala: that's Annie Bosch: maybe Shirley Zavala: uh Annie Bosch: it's not the way Patty Hutchinson: I dunno if Shirley Zavala: That's a functionality for the television. Patty Hutchinson: Yeah, I think as well, but Uh yeah. Annie Bosch: Mm. That's maybe one Esther Morton: Yeah mm nee Annie Bosch: thing we can Esther Morton: uh Annie Bosch: discuss about. Esther Morton: No, if i uh the remote can send like the the code for seven hundred, page seven hundred to the television. Patty Hutchinson: Yeah, Esther Morton: Th th Patty Hutchinson: in thi the Esther Morton: th if Patty Hutchinson: the Shirley Zavala: Okay. Esther Morton: you switch it Patty Hutchinson: remote Esther Morton: on. Patty Hutchinson: control in the Shirley Zavala: Yeah, but Esther Morton: Th Shirley Zavala: you have Esther Morton: i Shirley Zavala: to Patty Hutchinson: the Shirley Zavala: search Patty Hutchinson: chip. Shirley Zavala: every time again. That's what what happening if you do it like that. Patty Hutchinson: Yeah, Shirley Zavala: But Patty Hutchinson: that's true. Shirley Zavala: it's still Esther Morton: Yeah, Shirley Zavala: the Esther Morton: I dunno. Shirley Zavala: television that has Esther Morton: Okay. Shirley Zavala: to do that. Patty Hutchinson: So yeah. Um do we need to fix that or Annie Bosch: Mm Shirley Zavala: No, that's what the television Annie Bosch: most new Shirley Zavala: does. Annie Bosch: T_V_s do uh collect all the pages. Esther Morton: Yeah, those memory Annie Bosch: But Esther Morton: functions. Annie Bosch: uh not not every every television, so Esther Morton: Yeah. Shirley Zavala: Okay, Esther Morton: Was Shirley Zavala: it's Esther Morton: uh Shirley Zavala: cool. Esther Morton: this logo for uh volume? Shirley Zavala: Yeah, that's fine. Esther Morton: Okay. So that's it? Shirley Zavala: Is this prich pretty much it, yeah? Annie Bosch: Yeah, I I thought about one thing. Uh the buttons? Uh from which material are they now? Esther Morton: Mm. Patty Hutchinson: Just Esther Morton: No no Patty Hutchinson: like your telephone, hard plastic. Esther Morton: Yeah. Just hard plastic. Annie Bosch: Okay. Esther Morton: So Annie Bosch: Because Shirley Zavala: It's too expensive Annie Bosch: um Shirley Zavala: to make it from a different material Annie Bosch: if you Shirley Zavala: anyway. Annie Bosch: use it a couple of years, some uh sometimes the numbers on the on the buttons are slide away, are uh And maybe we can write the numbers below or above? Or shall we just turn it on on the buttons? Patty Hutchinson: I think Esther Morton: Uh Patty Hutchinson: just Esther Morton: I Patty Hutchinson: on Esther Morton: think Patty Hutchinson: the buttons. Esther Morton: just um Annie Bosch: Well yeah. That's too much place. Esther Morton: Yeah, Annie Bosch: Okay, Patty Hutchinson: I Esther Morton: but Patty Hutchinson: don't Annie Bosch: just leave Patty Hutchinson: think Annie Bosch: it. Just Patty Hutchinson: the space Annie Bosch: leave it. Patty Hutchinson: is worth it. Annie Bosch: Yeah, Esther Morton: I think Annie Bosch: and Esther Morton: uh Annie Bosch: i Esther Morton: you have Annie Bosch: The most Esther Morton: that problem Annie Bosch: time Esther Morton: more often with rubber buttons. Annie Bosch: Yeah, with rubber buttons. Yeah, okay. Okay. Fine. Shirley Zavala: Yeah? Okay, cool. Shirley Zavala: Mm mm mm mm mm. Yeah, I don't know what this means. But I think we just evela evaluated this one. Annie Bosch: Yeah, I made some criteria uh, Shirley Zavala: Oh okay, you Annie Bosch: so Shirley Zavala: made some Annie Bosch: we Shirley Zavala: criteria. Annie Bosch: can uh Shirley Zavala: Okay, Annie Bosch: ev Shirley Zavala: cool. Annie Bosch: evaluate our model. Shirley Zavala: Okay. Annie Bosch: I d d d I don't think if it's right. That shall show it. Shirley Zavala: You have some usability criteria or Annie Bosch: Mm-hmm. Shirley Zavala: Okay. Annie Bosch: Uh no, uh all criterias we just argue about. Uh Oh. Esther Morton: In the bottom. Annie Bosch: Yeah. Shirley Zavala: Look-and-feel? Annie Bosch: Evaluation Esther Morton: No, Annie Bosch: crit Esther Morton: evaluation is Annie Bosch: Yeah, evaluation presentation. It's not in. Uh d it doesn't matter um It only had two pages or something. Um well I looked in the reports um from the marketing strategy, or uh of uh the the the the the the new needs and uh the market. The Italians uh, how they think about it. And The research uh about uh the the comp uh the the the users and that kind of stuff. I made some criteria, and we have to test the criteria from one to zero. We sh we we we can give it uh a number, and then we can give ourself an average for our Shirley Zavala: Okay. Annie Bosch: um model. And Shirley Zavala: Okay. Annie Bosch: this These are all I I I found, or I wrote down. And um we have to discuss about, if we give it a one or a seven. Uh Shirley Zavala: Uh I think uh if you have a kind of iPod idea. It quite beautiful. It's Annie Bosch: Yes. Patty Hutchinson: Mm. Shirley Zavala: We are Annie Bosch: Yeah, Shirley Zavala: actu Annie Bosch: the the Shirley Zavala: We Annie Bosch: the difference Shirley Zavala: are the Annie Bosch: be between uh beautiful and fancy uh look-and-feel is uh the the the outside uh beautiful uh like the iPod or something. And fancy's more like the Shirley Zavala: Flashy. Annie Bosch: mm uh f the flashing lights and the colours and and that kind of stuff. Patty Hutchinson: Okay. Well Annie Bosch: The LEDs. Patty Hutchinson: I think we do If it's really uh, if you can if you can get the iPod look, then it's beautiful, I think. Annie Bosch: Yes. And Shirley Zavala: But Esther Morton: Yeah Shirley Zavala: uh Annie Bosch: and what Esther Morton: beautiful's Annie Bosch: ki what kind of Esther Morton: is Annie Bosch: what Esther Morton: also Annie Bosch: kind of basic Esther Morton: a matter of Annie Bosch: colours Esther Morton: taste. Annie Bosch: uh were you thought uh of? Patty Hutchinson: Hmm? Annie Bosch: The basic colours are black or green or yellow? Or you Patty Hutchinson: Um Annie Bosch: haven't Patty Hutchinson: basic Annie Bosch: thought about Patty Hutchinson: colours, um yeah. Well you didn't Annie Bosch: Ho Patty Hutchinson: say. Annie Bosch: how do we make uh Patty Hutchinson: Maybe um company colours? Shirley Zavala: It's black. Annie Bosch: Black Patty Hutchinson: Black. Annie Bosch: and yellow. Shirley Zavala: Yeah, Patty Hutchinson: A bit Annie Bosch: Can Shirley Zavala: yellow Patty Hutchinson: a bit Shirley Zavala: light. Patty Hutchinson: of yellow. Shirley Zavala: Do we have yellow light? No, not really, but Patty Hutchinson: Not Shirley Zavala: it's possible. Patty Hutchinson: not not yellow, Shirley Zavala: It's Patty Hutchinson: but just a bit of light yellow. Annie Bosch: Black white, maybe? Patty Hutchinson: Like white, also ni or uh always Esther Morton: And Patty Hutchinson: nice. Esther Morton: what colours Annie Bosch: Uh Esther Morton: should the buttons be? Annie Bosch: Because um Shirley Zavala: Yeah, different colours. This is Patty Hutchinson: Just um Shirley Zavala: Oh, the same as th th the cover. But also th the Esther Morton: But Shirley Zavala: light behind Esther Morton: can Patty Hutchinson: Yes. Esther Morton: you change Shirley Zavala: it. Esther Morton: those too, with uh Shirley Zavala: No, Esther Morton: the switch? Shirley Zavala: no. Make them No, just make them black or grey or something. Patty Hutchinson: Yeah, grey. Just dark grey I think. Esther Morton: Okay. Shirley Zavala: Yeah. Annie Bosch: Okay, so what uh number do we give uh a beautiful? Beautiful is uh really subjective, uh because it has to do lots with the colours. Patty Hutchinson: Well we have changeable fronts, so Annie Bosch: Changeable fronts, so ev for everyone for Patty Hutchinson: So Annie Bosch: everyone it's something beautiful. Shirley Zavala: Yeah, just Patty Hutchinson: Yeah. Shirley Zavala: give it a one. It's okay. It's perfect. I think it's just what you want. Or not? Patty Hutchinson: It's hard to decide for us, but Esther Morton: Yeah. Patty Hutchinson: yeah. Esther Morton: It's ju Patty Hutchinson: It Esther Morton: so Patty Hutchinson: it's Esther Morton: subjective. Patty Hutchinson: At least it's a lot better than uh current remote controls. Annie Bosch: Yeah. Shirley Zavala: Okay, just give it a two. Annie Bosch: A two. Okay. The fancy look-and-feel. That's about our uh flashing lights and the background uh lights uh from from from the buttons. Patty Hutchinson: Yeah. Annie Bosch: Okay. uh really fancy I think. Shirley Zavala: Yeah. Esther Morton: One Annie Bosch: So Esther Morton: more thing. Are w are we changing uh Or are they there uh backlights on the slide panel too? Or n no back light? Annie Bosch: Slide panel? Esther Morton: Yeah? Patty Hutchinson: Mm. Shirley Zavala: No. Patty Hutchinson: Not Shirley Zavala: No, Patty Hutchinson: needed. Shirley Zavala: it's only on the number, behind the numbers Patty Hutchinson: Yeah, not Shirley Zavala: and Patty Hutchinson: needed Shirley Zavala: uh Patty Hutchinson: I Esther Morton: And Patty Hutchinson: think. Esther Morton: and the switch channel is uh Annie Bosch: Oh, Esther Morton: There is Shirley Zavala: That Esther Morton: a back Shirley Zavala: as Esther Morton: light Shirley Zavala: well, Esther Morton: too? Annie Bosch: you mean th Shirley Zavala: yeah. Patty Hutchinson: Yeah. Annie Bosch: this here? Esther Morton: Yeah. Shirley Zavala: Yeah, but that's unnecessary. Patty Hutchinson: What do I think is necessary necessary Annie Bosch: It's Patty Hutchinson: item? Annie Bosch: pretty cool. If you slide it open, it lights up. That's that's really Shirley Zavala: Yeah. Annie Bosch: fancy, but I don't know if it's reachable. Patty Hutchinson: Of course it's reachable. Shirley Zavala: It doesn't Annie Bosch: Then Shirley Zavala: make Annie Bosch: we do it. Esther Morton: Hmm. Patty Hutchinson: Okay, maybe just some light uh to to light it all up. So you can see what's really there. Not just not re on the buttons Shirley Zavala: No. Patty Hutchinson: or something. Shirley Zavala: Yeah. Patty Hutchinson: Just a green light or some blue light. To Annie Bosch: Yeah, Patty Hutchinson: light it all up. Shirley Zavala: But Annie Bosch: but Shirley Zavala: Yeah. Mayb Esther Morton: Yeah, Shirley Zavala: Okay. Esther Morton: just backlight. Not not the buttons. And Patty Hutchinson: Yeah. Esther Morton: th and the the normal backlights also not the buttons, but behind the buttons. So the buttons are just grey. Annie Bosch: Okay. Patty Hutchinson: Well yeah. Uh semi-transparent. Shirley Zavala: Yeah, just Esther Morton: Okay. Shirley Zavala: only Yeah, that's right. Annie Bosch: Okay, fine. Shirley Zavala: So Annie Bosch: So I I think it's very fancy. Shirley Zavala: Yeah, that's Annie Bosch: So I'll Shirley Zavala: how Patty Hutchinson: Yeah, Shirley Zavala: I Annie Bosch: give Shirley Zavala: think. Annie Bosch: it a Patty Hutchinson: w we've done a a lot of detail in light, so Annie Bosch: Yeah, and you can Shirley Zavala: Ye Annie Bosch: uh also choose your light, so Shirley Zavala: Yeah, this Patty Hutchinson: Yeah. Shirley Zavala: It is a one. It's okay. Annie Bosch: I think Shirley Zavala: It's cool. Annie Bosch: it's one. Okay, next. Shirley Zavala: This is a difficult one, because Annie Bosch: Learnable? Shirley Zavala: we we Annie Bosch: Easy Shirley Zavala: don't Annie Bosch: to use? Shirley Zavala: Yeah, we don't know it about the Annie Bosch: Yeah, we shall test it But uh Shirley Zavala: Uh it's it's very easy to use, but Patty Hutchinson: Yeah. Shirley Zavala: uh the second layer is not easy to use. It's That's Esther Morton: No, but you Annie Bosch: Yeah. Esther Morton: don't have to use that. And you on don't have to pay attention to that second layer. That's Shirley Zavala: No. Esther Morton: th that's the main thing that's so good Patty Hutchinson: So Esther Morton: about Patty Hutchinson: I think Esther Morton: it. Patty Hutchinson: it's easy to use, but And learnable Annie Bosch: Learnable? Patty Hutchinson: is a bit Annie Bosch: It's not not as fast as a usual uh uh remote control. Esther Morton: Well, Annie Bosch: Because Esther Morton: I think it Patty Hutchinson: Well Esther Morton: is. Annie Bosch: because I Patty Hutchinson: y Annie Bosch: think Patty Hutchinson: just Annie Bosch: I think Patty Hutchinson: uh Annie Bosch: the scroll Patty Hutchinson: f Annie Bosch: wheel, uh it's very handy, but the first time you get this thing in your hands, it's not to use the scroll wheel. I think uh you must uh seek for it, and up or down or Uh Shirley Zavala: But Annie Bosch: then Shirley Zavala: the rest of it is very Annie Bosch: the Shirley Zavala: easy, Annie Bosch: re Shirley Zavala: because there are so so Patty Hutchinson: Yeah, Shirley Zavala: n Patty Hutchinson: I think it's very clear Esther Morton: So Patty Hutchinson: what it Esther Morton: so Patty Hutchinson: all does. Esther Morton: few information that you can Patty Hutchinson: Yes. Esther Morton: easily decide Annie Bosch: Yeah. Esther Morton: what buttons w for what function. Annie Bosch: Okay. Patty Hutchinson: But the second parts, uh like speech, etcetera, that will be harder to learn. Shirley Zavala: So Annie Bosch: Okay. Shirley Zavala: it is learnable um f i Annie Bosch: But Shirley Zavala: i In the first place Patty Hutchinson: It's Shirley Zavala: it's very easy to use. And Patty Hutchinson: Yeah Shirley Zavala: I think Patty Hutchinson: it's Shirley Zavala: its scrollwheel is u easy to use as well, if you have ever used uh a different kind of uh Annie Bosch: Yeah. Shirley Zavala: of Annie Bosch: But Patty Hutchinson: Device. Shirley Zavala: uh Annie Bosch: we we've got the Shirley Zavala: device. Annie Bosch: two so two uh two or three uh new things, huh? And maybe we uh maybe learnable is in uh compare of old fashion uh remote controls. So we h we have speech, uh the scroll wheel, and um the the the slide. You must slide it. And that's not normal at the uh normal remote controls. 'Cause Shirley Zavala: But Annie Bosch: I Shirley Zavala: yeah. Annie Bosch: think learnable is a l a less than um easy to use. Because Patty Hutchinson: Okay. Annie Bosch: easy to use comes after Shirley Zavala: Okay, Annie Bosch: learnable. Shirley Zavala: just Easy Annie Bosch: I I Shirley Zavala: to use Annie Bosch: think Shirley Zavala: is Annie Bosch: it Shirley Zavala: very Annie Bosch: a three Shirley Zavala: cool Annie Bosch: or Shirley Zavala: so, Annie Bosch: something. Shirley Zavala: just give it a two. Patty Hutchinson: Maybe three then. Learnable's Shirley Zavala: No, Esther Morton: Mm Shirley Zavala: but definitely Esther Morton: uh. Shirley Zavala: better, much better than uh than uh Esther Morton: The normal. Shirley Zavala: than avera Patty Hutchinson: Yeah okay. Shirley Zavala: average, yeah. Patty Hutchinson: Yeah. Esther Morton: And the one you showed is just all buttons and you don't know Patty Hutchinson: Yep, true. Then a two. Annie Bosch: Oh. Esther Morton: Yeah. Annie Bosch: Okay. Shirley Zavala: Okay. Annie Bosch: New features. Techno technological innovative? Esther Morton: The speech function and Annie Bosch: The Esther Morton: the colour. Annie Bosch: speech function Patty Hutchinson: And Annie Bosch: is Patty Hutchinson: the Esther Morton: Colour. Patty Hutchinson: scrollwheel, Annie Bosch: new. The scrollwheel Patty Hutchinson: backlights, Annie Bosch: and the slide. Uh Patty Hutchinson: slide. Annie Bosch: I think the slide Shirley Zavala: Slide Annie Bosch: is Shirley Zavala: is Annie Bosch: pretty Shirley Zavala: not n Annie Bosch: new. Shirley Zavala: is is not new. No. I Annie Bosch: Uh Shirley Zavala: already Annie Bosch: I only Shirley Zavala: have Annie Bosch: saw Shirley Zavala: a Annie Bosch: it in a telephone, not in an Shirley Zavala: Uh I Annie Bosch: remote Shirley Zavala: already Annie Bosch: control. Shirley Zavala: have a V_C_R_ and it's about from Annie Bosch: Okay. Shirley Zavala: nineteen eighty eight. And they all have a slide in it. So Patty Hutchinson: But also slide Shirley Zavala: that's not Patty Hutchinson: that Shirley Zavala: new. Patty Hutchinson: buttons come out, as Shirley Zavala: Yeah. Patty Hutchinson: well? Okay. Annie Bosch: Okay, and the the the lightning? Shirley Zavala: That's cool. Annie Bosch: Is that new? Shirley Zavala: Yeah for a Annie Bosch: The lighting's Shirley Zavala: Uh for Annie Bosch: new. Shirley Zavala: a Esther Morton: Mm Shirley Zavala: f Patty Hutchinson: Yes. Esther Morton: it's Annie Bosch: Scrollwheel. Esther Morton: pretty new, I think. Annie Bosch: Speech? Esther Morton: Speech is new. Patty Hutchinson: Different colours, so Annie Bosch: Yeah, different fronts for a remote control, I think that's new too. Esther Morton: Yeah. Patty Hutchinson: Yeah. Annie Bosch: So we have a pretty new uh Shirley Zavala: There are no Patty Hutchinson: That Shirley Zavala: games Patty Hutchinson: would And Shirley Zavala: on Patty Hutchinson: we Shirley Zavala: it, Patty Hutchinson: didn't Shirley Zavala: that's that's Patty Hutchinson: uh Shirley Zavala: It's not a one, it's a two Annie Bosch: It's Shirley Zavala: again. Annie Bosch: it's Shirley Zavala: But Annie Bosch: it's not not L_C_D_ Patty Hutchinson: But Annie Bosch: or Patty Hutchinson: then Annie Bosch: something. Patty Hutchinson: we also have Shirley Zavala: If Patty Hutchinson: the Shirley Zavala: you have Patty Hutchinson: the home station. We are forgetting about that now, but Shirley Zavala: Yeah. Annie Bosch: Uh-oh. Shirley Zavala: Oh yeah, that's right. Annie Bosch: Home-station. Shirley Zavala: Rechargeable. Patty Hutchinson: We don't Esther Morton: Yeah, Patty Hutchinson: recharge. Esther Morton: we didn't draw that too, but Patty Hutchinson: But that's more like uh now. Shirley Zavala: Yeah, just draw it afterwards. Esther Morton: Yeah, that's just a normal th s simple Patty Hutchinson: I don't Esther Morton: thing. Patty Hutchinson: know. Shirley Zavala: If you Can you save it on the same, in the same map as the other ones? In the the Patty Hutchinson: Uh Shirley Zavala: project uh map? Patty Hutchinson: Just save, save Shirley Zavala: Yeah. Patty Hutchinson: as? Shirley Zavala: Mm-hmm. Uh save as? No, that's not in the project. Esther Morton: Well it's a already in the folder. L like number seven. Shirley Zavala: Oh yeah, okay. Annie Bosch: Yeah. Shirley Zavala: Smart Patty Hutchinson: Okay. Shirley Zavala: board. Yeah, but this one. This one is not yet in the Oh oh. Esther Morton: I think it is. Patty Hutchinson: Yeah, it Esther Morton: No, Patty Hutchinson: is. Esther Morton: I think it is. Patty Hutchinson: Uh untitled? Yeah, it doesn't matter. Save. Esther Morton: Okay. Annie Bosch: Uh Shirley Zavala: But Annie Bosch: all Shirley Zavala: you still have to draw the resi Annie Bosch: the Shirley Zavala: the Annie Bosch: the seven, Shirley Zavala: recharger. Annie Bosch: uh all the Shirley Zavala: Okay. Annie Bosch: seven. Shirley Zavala: And new features, so we give it a two or also again a one? No, I think i if you have games on it, then then you give you have a one. Annie Bosch: No, we Shirley Zavala: But Annie Bosch: are Shirley Zavala: not Annie Bosch: not extraordinary new or something. Shirley Zavala: No, Annie Bosch: Tha Shirley Zavala: just Annie Bosch: tha Esther Morton: Mm Shirley Zavala: so Patty Hutchinson: N Shirley Zavala: it's still Annie Bosch: that Shirley Zavala: a two. Esther Morton: two, I think. Shirley Zavala: Targeted audience. Uh we are the targeted audience? Do we like Annie Bosch: No, Shirley Zavala: it? Annie Bosch: we we we searched for uh um a young group, audience, Shirley Zavala: Yeah, but Annie Bosch: beneath Shirley Zavala: l younger Annie Bosch: f forty. Shirley Zavala: than forty. Annie Bosch: Yes. Shirley Zavala: So we we are exactly the targeted group. Annie Bosch: Yeah, but did we reach, um with our uh style, the targeted audience? Th that's Shirley Zavala: I Annie Bosch: my Shirley Zavala: think Annie Bosch: question. Shirley Zavala: so, yeah. You get the fancy things for younger people. And Esther Morton: Yeah. Shirley Zavala: you get the the aesthetic things for older people. So you want Esther Morton: and that's what attracts the Annie Bosch: Yeah. Esther Morton: young audience. So Annie Bosch: Yeah. Um Esther Morton: think that's Annie Bosch: the Esther Morton: a Annie Bosch: only Esther Morton: two Annie Bosch: point Esther Morton: or Annie Bosch: is Esther Morton: a Annie Bosch: that Esther Morton: one. Annie Bosch: we don't uh have uh uh That's that's That's this question. Esther Morton: Yeah, but s it That's basically not not handy. And I don't thi I don't see Annie Bosch: Yeah, this. So Esther Morton: Yeah. Annie Bosch: we targeted it? But we Esther Morton: Yeah. Annie Bosch: didn't follow the latest trends. Esther Morton: No. Yeah, you could Patty Hutchinson: Mm. Esther Morton: make a Patty Hutchinson: I Esther Morton: a Patty Hutchinson: think Esther Morton: front Patty Hutchinson: we followed the latest trends. Esther Morton: a front Annie Bosch: Tha these Esther Morton: that's Annie Bosch: are Esther Morton: that's Annie Bosch: the only Esther Morton: like Annie Bosch: latest Esther Morton: uh Annie Bosch: uh Esther Morton: like Annie Bosch: trends Esther Morton: a banana, Annie Bosch: I uh Esther Morton: or something. Patty Hutchinson: Oh right. Annie Bosch: get on my computer. Patty Hutchinson: Well uh fruit and vegetables, yeah. Shirley Zavala: Yeah, you get different Patty Hutchinson: You Shirley Zavala: colours. Patty Hutchinson: can different front uh Annie Bosch: Uh yeah, th So we had Shirley Zavala: So Annie Bosch: we uh have Esther Morton: Like Annie Bosch: uh Esther Morton: a a Annie Bosch: a fruit Esther Morton: f Annie Bosch: uh Esther Morton: banana kind of Annie Bosch: Oh yeah. Esther Morton: front. Annie Bosch: But spongy will never be. Esther Morton: No. Annie Bosch: So we give ourself a three or something. Esther Morton: Yeah. Shirley Zavala: Oh. Annie Bosch: Okay. Shirley Zavala: So that's eleven. Annie Bosch: That's uh What's the average? Esther Morton: Eleven divided Shirley Zavala: It's Esther Morton: by six. Shirley Zavala: Yeah, it is one point eight three. Annie Bosch: A perfect score. No, I don't know. Esther Morton: We're not too hard on ourselves. Patty Hutchinson: This is a a power indicator. Esther Morton: Okay. Patty Hutchinson: So you can see how far it's charged up. Annie Bosch: And and Esther Morton: Okay. Annie Bosch: you need n uh a button to call it, to let it beep. Patty Hutchinson: To call. Um Shirley Zavala: Oh Annie Bosch: Call Shirley Zavala: yeah, that's still Esther Morton: Yeah, but uh we have to make a speaker then too. If you want to make it beep. Shirley Zavala: Yeah, maybe Patty Hutchinson: Okay. Shirley Zavala: we have to skip that one. Annie Bosch: That's Patty Hutchinson: No Annie Bosch: Yeah, Patty Hutchinson: no, Annie Bosch: but Patty Hutchinson: I Annie Bosch: it Patty Hutchinson: want that in. Esther Morton: But we can we can do it uh underneath Annie Bosch: No, we Esther Morton: the logo. Annie Bosch: need that. That's usable. Esther Morton: If you do uh Annie Bosch: That's really Shirley Zavala: Okay. Annie Bosch: usable. Patty Hutchinson: Yeah, th the speaker is very small as well, right? Esther Morton: Yeah, okay. Annie Bosch: It's uh Shirley Zavala: So Patty Hutchinson: Yes uh. Shirley Zavala: I just got a financial um You s saved it Annie Bosch: Yeah. Shirley Zavala: or Annie Bosch: I did save it. Shirley Zavala: No. Okay, let's have a look at this one here, the production cost of it. If I forgot anything, just say it to Annie Bosch. It just is a battery. Yeah, there are some that they didn't mention, because recharge is not on the list. But okay. So I think we are pretty much in the right direction, because it's twelve point three Euros. Esther Morton: Mm okay. But uh Annie Bosch: That's Esther Morton: is uh Annie Bosch: fine. Esther Morton: uh Shirley Zavala: So this is a regular chip incl and and a sample speaker. Esther Morton: Okay. Shirley Zavala: So that's both. Annie Bosch: Come on, it's perfect. Uh twelve point three point Shirley Zavala: Yeah, Annie Bosch: three. Shirley Zavala: and single curved Esther Morton: But Shirley Zavala: curved. Esther Morton: but is it inc Does it include a a homestation or Shirley Zavala: No, that's not on the list. But that shouldn't Esther Morton: Can we Shirley Zavala: be. Esther Morton: make that for uh h twenty cents? Patty Hutchinson: Yeah, we can uh Shirley Zavala: Probably. I just The b the button supplements, I didn't I d I was wondering if this special colour maybe was Patty Hutchinson: Um Shirley Zavala: I'm not sure. Patty Hutchinson: different fronts, but standard front won't be, yeah. Shirley Zavala: See it's I think Annie Bosch: Special Shirley Zavala: it's okay Annie Bosch: form, Shirley Zavala: like this. Annie Bosch: yeah. Shirley Zavala: It's hard to say. But maybe we have to um Yeah, okay. Special colour, you can skip this one, because it's all quite normal. Patty Hutchinson: Yeah. Shirley Zavala: We get different ones, that's all. So you can put a recharger in it as well. But this is expensive, the sample speaker. Esther Morton: Yeah. Patty Hutchinson: This? Shirley Zavala: Yeah. Esther Morton: Yeah, it's four. Annie Bosch: Four. It's four Euros. Patty Hutchinson: Oh, them. Is that uh included? Annie Bosch: Yeah. Patty Hutchinson: In the twelve Euro Annie Bosch: So Patty Hutchinson: or Annie Bosch: we Shirley Zavala: Yeah, Annie Bosch: are Shirley Zavala: that's included. Esther Morton: It's kind of Patty Hutchinson: Okay, Esther Morton: weird Patty Hutchinson: then Esther Morton: that we Patty Hutchinson: we then we need to use Esther Morton: we Patty Hutchinson: it. Esther Morton: get this information now, afterwards. Because Shirley Zavala: Yeah, no. Patty Hutchinson: Yeah. Shirley Zavala: Okay, so this is uh pretty much it this. Patty Hutchinson: Damn, solar cells are uh expensive. Shirley Zavala: So I just want you Yeah, we just made it. So we can do the project evalu evaluation now for uh for everything together. Annie Bosch: Okay. Shirley Zavala: Okay. We can do some discussion about this. Was there room for creativity? Esther Morton: Sure. Annie Bosch: Yes. Patty Hutchinson: Okay. Shirley Zavala: Paul, Esther Morton: Beautiful. Shirley Zavala: was there room for crea creativity? Patty Hutchinson: Mm uh i Yeah, I think so. I think uh everyone uh already. So Esther Morton: Yeah m If we got a high mark for um uh innovativeness or innovativity Shirley Zavala: Yeah. Annie Bosch: Or a different Esther Morton: then Annie Bosch: style. Esther Morton: there Patty Hutchinson: I think Esther Morton: we Patty Hutchinson: we Esther Morton: probably Patty Hutchinson: uh discussed Esther Morton: have been Patty Hutchinson: a lot Esther Morton: creative. Patty Hutchinson: of things about it. So Esther Morton: Yeah. Annie Bosch: Yeah. We could make a lot of different uh remote controls. Shirley Zavala: Yeah. Annie Bosch: So it's creativity. Esther Morton: Huh. Shirley Zavala: Okay, so the leadership Was there a leadership and Patty Hutchinson: Of course there was. Shirley Zavala: Okay. What do you have to say about that? Esther Morton: No, Annie Bosch: Who was the leader? Esther Morton: I think Yeah. Shirley Zavala: I dunno. Esther Morton: Just normal discussion, I think. Not Patty Hutchinson: Yeah. Esther Morton: one leader or something. Patty Hutchinson: One leader to check the time, etcetera. Esther Morton: Yeah. And make notes. Shirley Zavala: Yeah, I know. Patty Hutchinson: So more like a secretary. Esther Morton: Yeah. Shirley Zavala: Okay, next one. Uh team work um The the third meeting I think that one was pretty hard. We were not all We were not um Annie Bosch: Yeah Shirley Zavala: agree with every Annie Bosch: yeah. Shirley Zavala: not Annie Bosch: We Shirley Zavala: agree Annie Bosch: were not Shirley Zavala: with. Esther Morton: Yeah, Annie Bosch: finished. Esther Morton: w we Shirley Zavala: We're Esther Morton: had Shirley Zavala: not finished. Esther Morton: so much information, Annie Bosch: Uh. Esther Morton: that we get through email and just Patty Hutchinson: Uh I think we we got wrong information at the wrong time. I think that was the m biggest problem. Esther Morton: Yeah. Shirley Zavala: Yeah. Patty Hutchinson: Like uh the prices. If we knew that before, we could have uh Esther Morton: Yeah, th Patty Hutchinson: had Esther Morton: that's Patty Hutchinson: discussion Esther Morton: weird. Patty Hutchinson: really uh s really quicker. Annie Bosch: Yeah, because the prices uh could be twenty Euros or something Patty Hutchinson: Yeah, Annie Bosch: now. Patty Hutchinson: and if Annie Bosch: And Patty Hutchinson: you Annie Bosch: then Patty Hutchinson: had uh fifteen Euros, then we would it. We had Esther Morton: Hmm Patty Hutchinson: to Esther Morton: hmm yeah. Annie Bosch: Yeah. Shirley Zavala: Yeah, finance. Esther Morton: So we're bacal basically just lucky to uh Patty Hutchinson: Yeah. Esther Morton: get the price right. Shirley Zavala: But the teamwork was okay. Annie Bosch: Yeah, uh everybody could speak their uh opinion. And uh Patty Hutchinson: I think uh everyone listen to each other. Esther Morton: Yeah. Patty Hutchinson: Like marketing said things and then we had to i include them in the design. Shirley Zavala: Yeah. 'Kay. Yeah, what I have to say about uh means. The smart board is okay. Digital pen is horrible. I dunno if you use it. But if you want to download it to your computer, it's Annie Bosch: Yeah. Patty Hutchinson: It Shirley Zavala: doesn't Patty Hutchinson: was Shirley Zavala: work. Patty Hutchinson: Just doesn't work. Shirley Zavala: No. Patty Hutchinson: Well uh Annie Bosch: Digital pen or Patty Hutchinson: smart board would be very uh Esther Morton: Yeah. Patty Hutchinson: nice to work with, if it worked really well. Esther Morton: Yeah, i Patty Hutchinson: Just Esther Morton: if Patty Hutchinson: not Esther Morton: if Annie Bosch: Yeah, Patty Hutchinson: work Esther Morton: it would Patty Hutchinson: too slow. Esther Morton: be faster, Annie Bosch: the drawings Patty Hutchinson: Yeah, Esther Morton: it would be Annie Bosch: are Patty Hutchinson: more accurate. Esther Morton: great. Annie Bosch: are hard to make, I think. Patty Hutchinson: Yeah, it's i It should be more accurate. Annie Bosch: Precise. Esther Morton: Yeah. Patty Hutchinson: And uh I think it would be great if you could edit it from, just with a mouse, from where you're sitting. Shirley Zavala: Yeah. Patty Hutchinson: Not just pointing Shirley Zavala: It's Patty Hutchinson: out Shirley Zavala: the same Patty Hutchinson: on it. Shirley Zavala: for the presenta for the presentations. You can do it from here. That's much easier than standing there. Patty Hutchinson: Yeah. Shirley Zavala: And so you've Esther Morton: Yeah, and p just point with a mouse. Patty Hutchinson: No use to draw on the board itself. It's just slows down. Shirley Zavala: Yeah. Esther Morton: Yeah. Just old fashioned kinda Patty Hutchinson: Yeah. Esther Morton: blackboard style. But Shirley Zavala: Yeah, Esther Morton: you Shirley Zavala: like. Esther Morton: might as well do it in normal computer style. Patty Hutchinson: Yeah, even harder to draw like Esther Morton: Yeah. Patty Hutchinson: this than Esther Morton: Yeah. Patty Hutchinson: black board style. Esther Morton: And it's far too slow this way. Patty Hutchinson: Yeah. Shirley Zavala: Okay. Patty Hutchinson: You cou You could draw on it, but not as main function. Esther Morton: No. Shirley Zavala: I think Yeah, okay. Annie Bosch: Digital pen. Shirley Zavala: So we made it in time. And we made a remote control. Patty Hutchinson: We did it. Shirley Zavala: In the budget, yeah. Patty Hutchinson: New ideas found. Annie Bosch: New ideas. Esther Morton: What's that? Patty Hutchinson: Oh Annie Bosch: For for for Shirley Zavala: I don't know what it mean. Just Patty Hutchinson: I just think if we uh Annie Bosch: To gather, or to uh work together, uh or new ideas for Patty Hutchinson: I dunno. Shirley Zavala: For remote control probably. No, for the project. Patty Hutchinson: For remote control, a favourite for your text. Esther Morton: Hmm. Annie Bosch: No, for the prototype. New ideas. Esther Morton: Yeah, but still, you couldn't make a fancy a f you couldn't make a a prototype out of this. Because we don't have any sizes and Shirley Zavala: Yeah. But it's for the next team. Esther Morton: Yeah, Shirley Zavala: We don't Patty Hutchinson: That's Esther Morton: but Shirley Zavala: have to Esther Morton: it Patty Hutchinson: for. Shirley Zavala: do Esther Morton: You Shirley Zavala: that. Esther Morton: can't possibly do that in such a short time, I think. Patty Hutchinson: Yeah, this this is just the idea phase, the Esther Morton: Yeah, just brainstorming basically. Patty Hutchinson: Yeah. Details uh Esther Morton: So are we finished? Annie Bosch: Hmm. Shirley Zavala: Yes, I think just I just write a final report. Esther Morton: Okay. Patty Hutchinson: Quite early. Esther Morton: Yeah. Shirley Zavala: No, we have only four minutes left. Uh it's okay. Esther Morton: Oh okay. Patty Hutchinson: Oh, what do we have to do now. Do we uh I thought we were done at four o'clock? Esther Morton: It's now quarter past three. So Patty Hutchinson: Yep. Annie Bosch: I should take some pictures uh. Shirley Zavala: Okay. Patty Hutchinson: Mm we can do it afterwards, Annie Bosch: Yes. Patty Hutchinson: so Annie Bosch: Let's play minesweeper. Patty Hutchinson: Yeah. I found it as well. Annie Bosch: Ti-din ti-din. Patty Hutchinson: One two three four five six seven cameras. Mm not bad. Patty Hutchinson: So that was it. Esther Morton: Yeah. Now we can look at this. Patty Hutchinson: This is Esther Morton: We're probably not supposed to look at this, but Patty Hutchinson: The old versions. Esther Morton: Yeah, from the previous group. Patty Hutchinson: They went for uh for a universal Esther Morton: The touchscreen, Patty Hutchinson: device. Esther Morton: yeah. Patty Hutchinson: Yeah, but also a different device. Esther Morton: Yeah. Patty Hutchinson: Then an L_C_D_ uh would be handy. Esther Morton: Hmm. Here are the basic functions in here, the selecting dev devices. Patty Hutchinson: Yeah, and touch screens for all our stuff, yeah. Esther Morton: Hmm. Patty Hutchinson: I do agree with that. Patty Hutchinson: Yeah, tu-dum. English is not so hard by the way. Esther Morton: No. Annie Bosch: I'm breaking a world record here. Patty Hutchinson: Well, leader? Annie Bosch: Oh Patty Hutchinson: Project Annie Bosch: shit. Patty Hutchinson: Manager? Annie Bosch: We've got a problem, Paul. Patty Hutchinson: You do? Yeah, Annie Bosch: Yes. Patty Hutchinson: you have to make a choice. Annie Bosch: No it's your choice. Patty Hutchinson: Wow, that's pretty quick. Annie Bosch: Tu-dum. Patty Hutchinson: Uh uh um Annie Bosch: Just pick one. Patty Hutchinson: You have to decide. It's the lower one. Annie Bosch: What's this? A bomb or Patty Hutchinson: No no, Annie Bosch: not Patty Hutchinson: the upper one Annie Bosch: a Patty Hutchinson: is the bomb. Annie Bosch: bo This the bomb? Patty Hutchinson: Yes. Annie Bosch: Wrong. Shit. Patty Hutchinson: I knew it. Annie Bosch: I knew it. Annie Bosch: Four in a row. Patty Hutchinson: No. Annie Bosch: Uh. Patty Hutchinson: That's too much work. Come on. Annie Bosch: Is that previous work? Esther Morton: Yeah, this one. Patty Hutchinson: I challenge you. Annie Bosch: Oh, that's so stupid. No, that doesn't work. Patty Hutchinson: No, you gotta use the magic pen. Hmm. What if I put one there? Annie Bosch: That's stupid. Patty Hutchinson: We'll see. Annie Bosch: Okay. Patty Hutchinson: I don't agree. Annie Bosch: Mm. Annie Bosch: Sorry. Patty Hutchinson: Yeah, you had two choices. That's gonna be draw. Or not. Esther Morton: Hmm. Annie Bosch: Too bad. Patty Hutchinson: I'll put it here. Annie Bosch: Yeah, then Patty Hutchinson: You Annie Bosch: I Patty Hutchinson: are Annie Bosch: put Patty Hutchinson: going Annie Bosch: it Patty Hutchinson: to Annie Bosch: there. Patty Hutchinson: put it there. Then Annie Bosch: No one wins. Patty Hutchinson: It's a difficult choice, either here or there. Esther Morton: This is a very interesting design. Patty Hutchinson: Ugly. Annie Bosch: It's just the same as normal. Patty Hutchinson: Oh a pen. Esther Morton: Well it has a L_C_D_, Patty Hutchinson: Yeah, Esther Morton: I Annie Bosch: Okay. Esther Morton: think. Patty Hutchinson: but Then do it correctly. Annie Bosch: Stupid Esther Morton: And Annie Bosch: design. Esther Morton: what Annie Bosch: Stupid. Esther Morton: else do Patty Hutchinson: Stupid, Esther Morton: we have? Patty Hutchinson: the L_C_D_ screen. Annie Bosch: 'Kay wait, I'm going to draw something and you must y Patty Hutchinson: What? Okay, I'm going to guess what you're drawing. Annie Bosch: Okay, blank. Patty Hutchinson: No no, the new one. Annie Bosch: Oh. Patty Hutchinson: Uh they just don't save it. Annie Bosch: Um I know uh. Patty Hutchinson: A house? Yeah, you have to use the pen s stupid. Shirley Zavala: You have to save everything, you know that, huh? Patty Hutchinson: No, not everything. Annie Bosch: Oh. Esther Morton: Yeah, everything. Patty Hutchinson: Pen, select Annie Bosch: Pen. Patty Hutchinson: select pen. Esther Morton: It wants to know what we do in our spare time. Patty Hutchinson: Okay. It's a house. A plant? Annie Bosch: No, it's Only you can know it. Patty Hutchinson: Oh yeah, I can know it. It's a Annie Bosch: It's uh very hard to draw. Patty Hutchinson: Okay, that makes it easier. I think I know. No, wrong. Annie Bosch: Mm. Patty Hutchinson: I think I know what you're trying to draw, but it's wrong already. Annie Bosch: It's very Patty Hutchinson: Yeah, you missed the right side. Annie Bosch: Fuck. F Patty Hutchinson: No, you're wrong, you're wrong Annie Bosch: A little bit maybe, but Patty Hutchinson: See where you're wrong now? The entrance. Annie Bosch: Yeah. Esther Morton: Warning. Finish meeting now. Patty Hutchinson: Alright. Annie Bosch: Okay, the entrance is uh more to the left. Esther Morton: Warning. Warning. Patty Hutchinson: You're correct. Annie Bosch: Okay. But but but I think this part Patty Hutchinson: Yeah, but I think Oh no you made another mistake. Annie Bosch: Oh. Yeah, there are a lot of mistakes, because the walls are thick like this. Patty Hutchinson: No I w Okay, I'm not that whiny. But uh there was a big hole here as well, and Annie Bosch: Oh, Patty Hutchinson: there Annie Bosch: that's Patty Hutchinson: as well. Annie Bosch: true. Uh here. Patty Hutchinson: That's a kinda big mistake. Annie Bosch: Yeah, they're walking behind the walls. Patty Hutchinson: Warning, finish meeting now. Guys, I think we have to finish the meeting. Esther Morton: Okay. Annie Bosch: 'Kay this is a hard one. Patty Hutchinson: Uh? Esther Morton: Boom-boa-ring-bing. Patty Hutchinson: What does it say? Esther Morton: Fill in the questionnaire. What now? Patty Hutchinson: Come on. Shirley Zavala: Okay, Esther Morton: Okay. Shirley Zavala: yeah. Patty Hutchinson: Yep. Annie Bosch: Okay. Esther Morton: No more chit-chat. Patty Hutchinson: Oh you gotta finish Annie Bosch: Che-che-che-che. Patty Hutchinson: over there? Esther Morton: Yeah. Patty Hutchinson: In your own room? Annie Bosch: Tu-dumm. Patty Hutchinson: I'm gonna be so lonely. Annie Bosch: Uh. Patty Hutchinson: Mm I'll clean that up later. Annie Bosch: This is That's my new interface. Patty Hutchinson: What's that? Annie Bosch: That's a uh edited smiley. Annie Bosch: Tom-ti-dom. Uh. Esther Morton: Okay.

Shirley Zavala presented the agenda and the minutes from the previous meeting. The group discussed speech recognition , whether the remote should slide open or fold open, and what type of chip they should use. The designers presented the prototype, which resembles an ipod in appearance, and is made of transparent coloured plastic. The colours will be changeable. The remote has both buttons and a scroll wheel. The number buttons have a back-light. The group discussed adding extra buttons/functions. The prototype was evaluated and received an average overall score of 1.8. Shirley Zavala went through the finances, and the total cost came to 12.3 euros, although this did not include the cost of the recharger, which was not on the price list. The group evaluated the project process, and were generally pleased with their creativity and teamwork, but were unsatisfied with the equipment.

amisum

train

Tanisha Barkley: Good morning. Tanisha Barkley: Sorry? Yeah, busy job. Tanisha Barkley: Good morning. Tanisha Barkley: So Oh, good morning everyone. Suzy Wallace: Good morning. Brenda Fitzsimmons: Good morning. Tanisha Barkley: I'd uh like to welcome you to our first meeting. I've prepared a little presentation. My name is and uh I hope you will introduce yourself uh in a few minutes, as will I. Um I'm Tanisha Barkley of this project, and uh, well I will tell you on what actually is the project. This is uh the agenda for our first meeting. Um this is the opening, then we will get I will hope we will get acquainted to each other. We'll do a little tool training with these two things. We'll take a look at the project plan. Uh there will be time for discussion. Actually we have to discuss because we have to create a product. And then we will close this session. Um but first of all we I'd like to uh introduce you to this room. Um as you probably have noticed there are little black uh fields on the table. Um you have to put your laptop exactly in that field so the little cameras can see your face. Um there are cameras everywhere around the room especially here for your face, of course, and this isn't a pie, it's a a set of microphones and there are microphones here also. But please uh don't be afraid of them. They won't hurt you. Brenda Fitzsimmons: Well Tanisha Barkley: Um well uh I said I'm Tanisha Barkley and uh I'm hoping uh for a good project and uh I'd like to hear uh who you are and what your functions are uh on this project. Let's start with the ladies. Brenda Fitzsimmons: Well uh I'm and my uh function is User Interface Design, I think. So uh that's Mary Arguellez. Suzy Wallace: Okay, uh I'm uh I'm Suzy Wallace and I uh hope to uh look forward to uh a very uh pleasing uh end of this uh project. Tanisha Barkley: Okay, so Brenda Fitzsimmons: Mary Arguellez too. Tanisha Barkley: I. Mary Arguellez: My name's. I'm uh Marketing Expert My. job is in the company to promote company or promote products to the customers. So I also h hope we have a pleasant uh working with uh with each other. Tanisha Barkley: Okay, well we have some expertise from uh different pieces of the of the company. That's good. Um well I said uh we're working on a project and the aim for the project is to to create a to design a new remote control which uh has to be original, trendy and of course, user friendly. And uh I hope we have the expertise to create such a project such a product. Um the way we hope to achieve that is uh the following methods. It consists of three phases, namely the functional design, conceptual design and detailed design. As you can see, all of these phases consists of two parts, namely individual work part and a meeting where we will discuss uh our work so far. Okay. But first I will uh tell you something about the tools we have here. I already talked about the cameras and microphones, but they are not of uh much use to us. Uh we will have to take advantage of these two things. They are smart boards. As you can see, you can give a presentation on them. And uh this one here is a white board. I will uh instruct you about that soon. Um as you also noticed uh this presentation document is in our uh project folder and every document you put in this folder uh is uh it is possible to show that here in our meeting room. Um and yeah there are available on both smart boards but I think we will uh mainly use this one for the documents in the shared folder. As you can see, this is the same tool bar uh as is located here. Um the most functions uh we will use will be to to add a new page, um uh to go back and forward between pages, and of course uh to save it every now and then. Um and this is the pen with which you can draw on the board, for instance like this if everything's okay, but I first have to put it on the pen, you see I'm new to it too. Um and then you can Brenda Fitzsimmons: Oh. Tanisha Barkley: write things like test or whatever you want. As you can see you have to move it a little bit slow, it's not such a fast board, it's a smart board but also a slow board. Uh but you can write things and of course you can also, when you click here, uh erase things, so we have uh est left. And um you can also delete an entire page, but we ask you not to do that. Just simply create a new one and uh start all over because we want to save all the results. Um does everyone understand this Brenda Fitzsimmons: So Mary Arguellez: Mm-hmm. Brenda Fitzsimmons: we Suzy Wallace: Yeah. Brenda Fitzsimmons: can't erase Tanisha Barkley: nice application? Brenda Fitzsimmons: anything. Tanisha Barkley: Well you can erase it with the eraser, but uh you shouldn't delete an entire page, but just Brenda Fitzsimmons: Right. Tanisha Barkley: create a Mary Arguellez: S Tanisha Barkley: new blank one. I will delete this one now because we don't use it yet. Brenda Fitzsimmons: Alright. Tanisha Barkley: But you can of course erase when you make a mistake, but don't uh delete entire pages. And you can also um let's see I think it's here uh change the uh colour of your pen, for instance take a blue one and uh change the line width like to five. Um that's what you will need for our first exercise, because I'm uh going to ask you to draw your favourite animal. It's also to gets to know each other because um Suzy Wallace: Okay. Tanisha Barkley: I'm asking three things, uh for that uh drawing, to do it on a blank sheet, with different colours and I just showed you how to pick a colour, pen widths which I also showed you. Um and a favourite characteristic can be just uh one word. Well I'm not very good at drawing, but I will uh go first and um try to draw Or maybe you should guess what I'm drawing, eh. Mary Arguellez: Good. Suzy Wallace: Hmm. Mary Arguellez: No. Brenda Fitzsimmons: It's a sheep. Mary Arguellez: Dinos Suzy Wallace: Seal, Mary Arguellez: Dinosaur. Suzy Wallace: a seal. Mary Arguellez: Beaver. Suzy Wallace: A be Brenda Fitzsimmons: A beaver. Tanisha Barkley: Well Brenda Fitzsimmons: It's Tanisha Barkley: it uh Brenda Fitzsimmons: weird. Tanisha Barkley: could be everything. Suzy Wallace: Mm. With a tail and a mouth. Tanisha Barkley: Maybe when I put on Brenda Fitzsimmons: It has wings? Mary Arguellez: Turtle. Tanisha Barkley: this thing it could be a turtle, Suzy Wallace: Snail. Tanisha Barkley: or a snail, and Brenda Fitzsimmons: Well the snail doesn't have legs. Suzy Wallace: Okay. Tanisha Barkley: But a turtle has. And those are slow. And I hope our project group will not be slow, but we will uh work to a good result and do it uh as fast as we can. Okay, time for another animal. Would you like to go next? Suzy Wallace: Sure. Mary Arguellez: No problem. No problem. Brenda Fitzsimmons: Oh right. Mary Arguellez: Mm. It was four months? Mary Arguellez: Nice, okay. Brenda Fitzsimmons: Well. Suzy Wallace: The hell. Mary Arguellez: To make it a little bit easier. Brenda Fitzsimmons: It's a giraffe. Suzy Wallace: Make that cute. Mary Arguellez: No, it's a giraffe. 'Kay. I think it's r uh to recognise as Brenda Fitzsimmons: Yes. Mary Arguellez: a giraffe. Tanisha Barkley: Mm-hmm. Brenda Fitzsimmons: Giraffe. Mary Arguellez: Yeah, the favourite charis characteristic is that the long neck, it can reach everything. And I hope I can also reach a lot with this project. So that's my favourite animal. Tanisha Barkley: Okay. Mary Arguellez: Anything else you need Tanisha Barkley: Could Mary Arguellez: to Tanisha Barkley: you Mary Arguellez: know? Tanisha Barkley: write the words, uh underneath it? Mary Arguellez: Oh, Tanisha Barkley: Or more words. Mary Arguellez: uh Suzy Wallace: Tall. Mary Arguellez: Tall. So, 'kay. Brenda Fitzsimmons: Should I uh Alright. So I can draw, but uh Uh. Well. Oh. Suzy Wallace: B Mary Arguellez: It's a mouse. Suzy Wallace: Bunny rabbit. Mary Arguellez: A bunny rabbit. Brenda Fitzsimmons: Oh wrong one. Uh. Well uh you can guess what it is, I hope. Mary Arguellez: Uh-huh. No problem. Brenda Fitzsimmons: It's a rabbit. Tanisha Barkley: Little rabbits. Brenda Fitzsimmons: And uh well uh it's uh quick, I guess. Brenda Fitzsimmons: That's uh my uh favourite animal. Tanisha Barkley: Okay, Suzy Wallace: Okay. Tanisha Barkley: thank you. And our final drawing. Mary Arguellez: Bob Ross. Mary Arguellez: Dolphin. Brenda Fitzsimmons: A dolphin. Suzy Wallace: Okay, um. Suzy Wallace: Uh I uh draw I I've drawn a dolphin because of its intelligence. One of the Brenda Fitzsimmons: Right. Suzy Wallace: most intelligent uh Tanisha Barkley: Mm-hmm. Suzy Wallace: animals in our world. Brenda Fitzsimmons: Well. Suzy Wallace: Yeah Brenda Fitzsimmons: With Suzy Wallace: intelligent. Brenda Fitzsimmons: an E_. Suzy Wallace: I've I've uh Eraser. Brenda Fitzsimmons: You can try out the eraser now. Suzy Wallace: Pen. Well not perfect, but okay. Tanisha Barkley: Okay, well thank you very much. I can see we have some uh drawing talent uh in this group, Brenda Fitzsimmons: Not Tanisha Barkley: huh? Brenda Fitzsimmons: really. Tanisha Barkley: Well, nice animals, nice words. Sounds good. Um back to business, back to the money part. Um from the finance department I have learned that we are aiming for a selling price of twenty five Euros. And we're hoping for a aim of fifty million Euros and uh we are hoping to achieve that uh by aiming for an international market. And the production cost will be twelve Euro fifty max. Okay, well it's time uh for some discussion. I've wrote down some examples here of what we can can speak about. Uh what's your experience with remote controls, um what kind of ideas do you have to design a new remote control, maybe for which market segments should we aim, or should we aim for all segments. Uh well actually I'd like to hand the word uh back to you. What's your experience with remote control? Suzy Wallace: A Brenda Fitzsimmons: I Suzy Wallace: lot Brenda Fitzsimmons: always Suzy Wallace: of buttons. Brenda Fitzsimmons: lose them. Mary Arguellez: Yeah. Suzy Wallace: And you always lose them. Brenda Fitzsimmons: Yes. Suzy Wallace: A lot of buttons which Brenda Fitzsimmons: Yeah. Suzy Wallace: you don't use Tanisha Barkley: Mm-hmm. Suzy Wallace: or who you don't use Mary Arguellez: Complex. Suzy Wallace: Complex. Brenda Fitzsimmons: Yeah. Suzy Wallace: Not user friendly. Mary Arguellez: No. Brenda Fitzsimmons: search for the buttons, which one is Mary Arguellez: No. Brenda Fitzsimmons: which and uh Mary Arguellez: Boring. Tanisha Barkley: Boring, it's not fun to use a Mary Arguellez: No. Tanisha Barkley: remote. Suzy Wallace: Mm. Mary Arguellez: Black, all black. Brenda Fitzsimmons: Well. Tanisha Barkley: Mm-hmm. Mary Arguellez: So, Suzy Wallace: Black colours. Mary Arguellez: yeah. Tanisha Barkley: Well maybe we should try to make it fun. Mary Arguellez: Mm-hmm. Suzy Wallace: They use batteries and batteries uh and poor signal. Tanisha Barkley: Mm-hmm. Mary Arguellez: Yeah. Suzy Wallace: Uh. Mary Arguellez: The the Brenda Fitzsimmons: Perhaps that Mary Arguellez: angle Brenda Fitzsimmons: you have a Mary Arguellez: you Brenda Fitzsimmons: lot Mary Arguellez: have Brenda Fitzsimmons: of Mary Arguellez: to use. Brenda Fitzsimmons: road remotes r road Mary Arguellez: You had different Brenda Fitzsimmons: con Mary Arguellez: remote Brenda Fitzsimmons: remote Mary Arguellez: controls Suzy Wallace: Yeah, Brenda Fitzsimmons: controls. Suzy Wallace: different Mary Arguellez: for Suzy Wallace: remote Mary Arguellez: different Suzy Wallace: controls, Mary Arguellez: devices. Brenda Fitzsimmons: Yes, Suzy Wallace: yeah. Brenda Fitzsimmons: perhaps Mary Arguellez: Yes. Brenda Fitzsimmons: you can integrate them or something. Suzy Wallace: Uh for the use of different Brenda Fitzsimmons: Yes. Suzy Wallace: uh devices. Mary Arguellez: Yeah. Brenda Fitzsimmons: Your Tanisha Barkley: Mm-hmm. Brenda Fitzsimmons: stereo and your T_V_ and uh. Perhaps Mary Arguellez: Yeah Brenda Fitzsimmons: that's Mary Arguellez: but Brenda Fitzsimmons: an idea. Mary Arguellez: then again you you still have a lot of buttons, Brenda Fitzsimmons: Yeah, that's right. Mary Arguellez: so Suzy Wallace: Yeah but Brenda Fitzsimmons: And Suzy Wallace: you could Brenda Fitzsimmons: which you Suzy Wallace: uh Brenda Fitzsimmons: don't Suzy Wallace: I Brenda Fitzsimmons: use. Suzy Wallace: thin uh there's a possibility to g uh to uh to put those buttons uh behind some uh kind of uh Mary Arguellez: Flap Suzy Wallace: protection so Mary Arguellez: yeah. Suzy Wallace: that Brenda Fitzsimmons: Right. Suzy Wallace: if y y you only get to see them when you need 'em. Mary Arguellez: Yeah, okay, that's possible, Suzy Wallace: That's possible, so that Mary Arguellez: but it'll Suzy Wallace: you only Mary Arguellez: get very Suzy Wallace: get the Mary Arguellez: big the Brenda Fitzsimmons: Yeah. Mary Arguellez: the remote Suzy Wallace: No Mary Arguellez: control. Suzy Wallace: n Brenda Fitzsimmons: You Suzy Wallace: n no, Brenda Fitzsimmons: should Suzy Wallace: just Brenda Fitzsimmons: just give it to. Suzy Wallace: Uh for example you got th uh the same size uh remote control you use everyday, but um Mary Arguellez: Mm-hmm. Suzy Wallace: the usual buttons such as uh um zapping uh as you call it in Dutch. Uh and the volume Brenda Fitzsimmons: Changing Suzy Wallace: control Brenda Fitzsimmons: channel. Suzy Wallace: uh are only the only possible buttons uh to use directly. Tanisha Barkley: Mm-hmm. Mary Arguellez: Mm-hmm. Suzy Wallace: Or uh Mary Arguellez: numbers. Suzy Wallace: the numbers, of course. But uh Mary Arguellez: On and off. Suzy Wallace: not uh the buttons used to search on the the channels on your television. You only use those uh the first time, or. Mary Arguellez: Yeah, play, Suzy Wallace: So. Mary Arguellez: pause, stop. Suzy Wallace: Uh. Tanisha Barkley: Mm-hmm. So maybe a a minimalist design, Suzy Wallace: Yeah, Tanisha Barkley: the Suzy Wallace: I Tanisha Barkley: least Suzy Wallace: think so, Tanisha Barkley: uh possible Brenda Fitzsimmons: Yes. Suzy Wallace: yeah. Tanisha Barkley: amount uh of buttons. Brenda Fitzsimmons: But you should make sure that you have every button they need on it. Mary Arguellez: Mm-hmm, Brenda Fitzsimmons: Because Mary Arguellez: of Brenda Fitzsimmons: uh Mary Arguellez: course. Brenda Fitzsimmons: things for uh teletext, I dunno Suzy Wallace: Yeah, Brenda Fitzsimmons: uh, w what's Suzy Wallace: uh Brenda Fitzsimmons: the name? Suzy Wallace: teletext. Tanisha Barkley: Mm-hmm. Suzy Wallace: think so. Okay. Tanisha Barkley: So you don't want to bother people with uh loads of buttons, but Mary Arguellez: No. Tanisha Barkley: on the other hand they need many buttons so they don't have to get out of their seat. Brenda Fitzsimmons: Yeah. Mary Arguellez: Yeah. Brenda Fitzsimmons: But Suzy Wallace: Right. Mary Arguellez: Because I think a market will be all kind of people. Elderly p el elderly, Brenda Fitzsimmons: But if Mary Arguellez: young Brenda Fitzsimmons: if it's Mary Arguellez: people, Brenda Fitzsimmons: if it's international Mary Arguellez: so. Brenda Fitzsimmons: you should uh look in think in Britain they have uh different things they can do with the T_V_, or so uh that you can choose what you want to see. I dunno if you should uh take that in consideration, or Suzy Wallace: Uh. Brenda Fitzsimmons: that you just should aim for the normal T_V_s that uh Mary Arguellez: Yeah Suzy Wallace: Yeah Mary Arguellez: I Suzy Wallace: I Mary Arguellez: think Suzy Wallace: I understand. Mary Arguellez: that's the better Brenda Fitzsimmons: And Mary Arguellez: one, Brenda Fitzsimmons: the B_B_C_. Mary Arguellez: because I think if you you're going to target a lot of people and the whole world and only Britain then I think Brenda Fitzsimmons: Yes. Suzy Wallace: No. Mary Arguellez: the cost will uh rise higher than the twelve fifty, I think. Brenda Fitzsimmons: Yeah, I don't know if the Mary Arguellez: I think Brenda Fitzsimmons: they have Mary Arguellez: the Brenda Fitzsimmons: that anywhere Mary Arguellez: aim is Brenda Fitzsimmons: else, Mary Arguellez: better to Brenda Fitzsimmons: though. Mary Arguellez: use uh the whole world and Britain, Suzy Wallace: Yeah. Mary Arguellez: yeah. Brenda Fitzsimmons: Yeah, we can leave Suzy Wallace: When I think Mary Arguellez: Not Suzy Wallace: of Brenda Fitzsimmons: that. Mary Arguellez: that Suzy Wallace: it Mary Arguellez: much. Suzy Wallace: uh I think the main idea uh of this remote remote control is uh to make it user friendly. So uh I think uh when p uh when uh the customers will buy this remote control, they already have uh the remote control which uh companies uh Mary Arguellez: Mm. Brenda Fitzsimmons: Yeah. Suzy Wallace: uh Mary Arguellez: Standard Suzy Wallace: with uh Mary Arguellez: deliver. Suzy Wallace: the the standards uh remote control with which comes uh with the television. Tanisha Barkley: Mm-hmm. Mary Arguellez: Mm. Suzy Wallace: So uh it only has to have uh the most used buttons. You don't have to integrate the buttons to search the channels on your television. In Mary Arguellez: No Suzy Wallace: those Brenda Fitzsimmons: Well but Mary Arguellez: but Suzy Wallace: in Brenda Fitzsimmons: but Suzy Wallace: that Brenda Fitzsimmons: then you have to to Mary Arguellez: Yeah. Brenda Fitzsimmons: find your other remote Mary Arguellez: Yeah, Brenda Fitzsimmons: control if Mary Arguellez: th Brenda Fitzsimmons: you want to search. Mary Arguellez: it Brenda Fitzsimmons: That's Mary Arguellez: it's Brenda Fitzsimmons: not Mary Arguellez: I think Suzy Wallace: Yeah but Mary Arguellez: that's Suzy Wallace: I Mary Arguellez: not Suzy Wallace: but it is impossible to uh to accommodate uh accommodate uh all the buttons on the s on the difference different Brenda Fitzsimmons: Yeah, that's Suzy Wallace: televisions sets Brenda Fitzsimmons: right. Suzy Wallace: on one remote control. It's impossible. Mary Arguellez: Yeah, okay. Suzy Wallace: Because uh for example Sony television uh has the opportunity to s to make uh uh to make it possible for to see on one side of the screen uh teletext, and on the other side Mary Arguellez: No. Suzy Wallace: uh just Brenda Fitzsimmons: Yeah Suzy Wallace: n uh regular Brenda Fitzsimmons: that's Suzy Wallace: television. Brenda Fitzsimmons: uh. Suzy Wallace: Uh Mary Arguellez: I think n m n most televisions nowadays do this. Suzy Wallace: Yeah, but uh they Brenda Fitzsimmons: Well Suzy Wallace: don't Brenda Fitzsimmons: not everywhere. Suzy Wallace: use Mary Arguellez: So Suzy Wallace: the same signal, Mary Arguellez: I think numerals. Suzy Wallace: uh on remote control. Because you can't use a Panasonic uh remote control on a on a Philips television. Mary Arguellez: Yeah, but then you have to choose the this always with r universal remotes you have to choose Brenda Fitzsimmons: Yeah, you Mary Arguellez: the Brenda Fitzsimmons: can choose Mary Arguellez: code. Brenda Fitzsimmons: the code. Mary Arguellez: You Suzy Wallace: Okay. Mary Arguellez: can use which which Suzy Wallace: Okay. Mary Arguellez: type of television you have. That's no problem. Suzy Wallace: Okay. Mary Arguellez: But I think like the two pages on the same screen, like teletext and normal television, that's that's nowadays standard, I think. Suzy Wallace: Okay, but uh I think that most people uh th uh will buy the remote control because because uh Mary Arguellez: Simplicity. Suzy Wallace: the first they lost the one they lost first one or Mary Arguellez: Yeah. Suzy Wallace: the first one is broken, so Mary Arguellez: Yeah, yeah. Suzy Wallace: uh uh perhaps they have a got a an older television, Mary Arguellez: Mm-hmm. Suzy Wallace: so that option is not Brenda Fitzsimmons: Yeah. Mary Arguellez: Yeah Suzy Wallace: uh Mary Arguellez: g available. Suzy Wallace: optional for those uh people. Brenda Fitzsimmons: But Mary Arguellez: True. Brenda Fitzsimmons: the people have a new television, and c if you look into the future, then they want will Suzy Wallace: Yeah, Brenda Fitzsimmons: want Mary Arguellez: Yeah. Brenda Fitzsimmons: the button, if Suzy Wallace: yeah. Brenda Fitzsimmons: their thing is broke. Suzy Wallace: So we should take that in consideration. Brenda Fitzsimmons: Yeah. Mary Arguellez: Mm-hmm. Tanisha Barkley: Mm-hmm. Mary Arguellez: Mm-hmm. Tanisha Barkley: Okay, well any more ideas? Suzy Wallace: Oh mm, no. Mary Arguellez: Of course. Tanisha Barkley: No? Brenda Fitzsimmons: Guess not. Suzy Wallace: Things'll come up. Mary Arguellez: Yeah. Tanisha Barkley: Okay, yeah well we have some time. Let's see what more I have to tell you. I don't think there is much left. Nope. We're starting to close. Um our next meeting uh will start well we're a little bit early, but our next meeting will start in in thirty minutes. In the meantime uh there's time for some uh individual actions. Um, as you can see, the different roles have uh different tasks. And there's a ping. Is it my laptop? Mary Arguellez: Yeah. Tanisha Barkley: Yep. Suzy Wallace: Stop the meeting Tanisha Barkley: Ah Suzy Wallace: now. Brenda Fitzsimmons: Yeah meeting will close Tanisha Barkley: well Brenda Fitzsimmons: in five Tanisha Barkley: that's Brenda Fitzsimmons: minutes. Tanisha Barkley: good, five minutes and uh the meeting's over, uh Suzy Wallace: Okay. Tanisha Barkley: right on schedule. Um Mary Arguellez will uh will take a look at the user requirement specification. Brenda Fitzsimmons will work out the technical functions design. And this was the Interface Designer? Or Brenda Fitzsimmons: Hmm Tanisha Barkley: the Interaction Suzy Wallace: Mm. Brenda Fitzsimmons: hmm. Tanisha Barkley: Designer. Or what was Brenda Fitzsimmons: No Suzy Wallace: No? Mary Arguellez: Interface. Brenda Fitzsimmons: interface. Tanisha Barkley: it, I_D_? Interface Designer, okay, first guess was right. Uh will take a look at the the working design. Suzy Wallace: No, the Industrial Brenda Fitzsimmons: No Suzy Wallace: Designer Brenda Fitzsimmons: the Suzy Wallace: will take Brenda Fitzsimmons: Yeah. Suzy Wallace: a look at the working design, and the in uh usability interaction Tanisha Barkley: Industrial Designer, okay, Suzy Wallace: Yeah, okay. Tanisha Barkley: sorry. Suzy Wallace: Okay. Tanisha Barkley: Let's just use the acronyms. Brenda Fitzsimmons: So Tanisha Barkley: Um and of course specific instructions uh will be sent to you uh through your personal coach. Brenda Fitzsimmons: So I should look at uh what you should be able to do with the remote, or uh, or how Tanisha Barkley: Uh Brenda Fitzsimmons: I don't Tanisha Barkley: well Brenda Fitzsimmons: really Tanisha Barkley: those instructions will be uh Brenda Fitzsimmons: Right. Tanisha Barkley: in the email you will receive Brenda Fitzsimmons: Alright. Tanisha Barkley: uh shortly, I hope. Brenda Fitzsimmons: Mary Arguellez too. Tanisha Barkley: And of course you have your own uh expertise. Well uh Mary Arguellez: Uh-huh. Tanisha Barkley: that was what I had to say. Uh Suzy Wallace: Okay. Tanisha Barkley: are there any more questions? Mary Arguellez: No. Suzy Wallace: No. Tanisha Barkley: No? Okay well I think then we have to head uh back to our offices and uh start working. Mary Arguellez: I have one Suzy Wallace: Okay. Mary Arguellez: question. Tanisha Barkley: Okay, one question? Suzy Wallace: Oh. Mary Arguellez: Where does it says we have to make a remote, because I presumed She didn't know who. Okay, no, no problem. Tanisha Barkley: Okay we're still going. Suzy Wallace: No problem. Mary Arguellez: No Tanisha Barkley: Okay, Mary Arguellez: problem. Tanisha Barkley: well I expect Suzy Wallace: Okay. Tanisha Barkley: everything will be much clearer with the Mary Arguellez: Yeah. Tanisha Barkley: instructions we will receive uh shortly. Mary Arguellez: Mm-hmm. Brenda Fitzsimmons: Alright. Tanisha Barkley: Okay well Suzy Wallace: Alrighty. Tanisha Barkley: uh see you all in about thirty minutes, then. Brenda Fitzsimmons: Yeah. Suzy Wallace: Okay. Tanisha Barkley: Thank you very much. Brenda Fitzsimmons: Yeah. Okay.

Tanisha Barkley acquainted the team with the tools and equipment around them and then had the team members introduce themselves by name and what role they had in the project. Tanisha Barkley then introduced the upcoming project along with more tools and equipment to the team members. The team members then participated in an exercise in which they drew their favorite animals. After the drawing exercise, Tanisha Barkley talked about the project finances and production costs. The team then discussed their experiences with remotes and various features to consider when producing a remote.

amisum

train

Anna Washington: Good morning, again. Erica Morris: One question. Hazel Wlodarek: Yeah. Choose Erica Morris: Send. Hazel Wlodarek: a number? Erica Morris: Submit. Christine Hayes: Yep yep yep yep. Anna Washington: All Erica Morris: Mm. Anna Washington: set? Christine Hayes: Mm-hmm. Erica Morris: Yeah. Anna Washington: 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? Hazel Wlodarek: Yes. Anna Washington: 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. Erica Morris: I'll go first. Okay. Christine Hayes: Yeah. Erica Morris: I'll go first Hazel Wlodarek: Well. Anna Washington: You Erica Morris: yeah. Anna Washington: can go first, okay. Christine Hayes: Well, shall I go first with the users? Hazel Wlodarek: Well Christine Hayes: I think well okay no problem. Anna Washington: Is there Hazel Wlodarek: everybody Anna Washington: an order? I Hazel Wlodarek: already Anna Washington: haven't Hazel Wlodarek: has Christine Hayes: Ja Hazel Wlodarek: his presentation, Christine Hayes: precies, ja precies, Hazel Wlodarek: so Erica Morris: So. Christine Hayes: ja precies Hazel Wlodarek: you can adjust Erica Morris: Huh? Hazel Wlodarek: it. Erica Morris: Okay, um Anna Washington: And one question, uh your name Denni, is it with a Christine Hayes: E_I_E_. Anna Washington: I_E_ E_I_E_, okay. Thank you. Erica Morris: 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 Anna Washington: Sorry. Erica Morris: 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? Hazel Wlodarek: Yeah. Erica Morris: 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 Hazel Wlodarek: Oh Erica Morris: uh Hazel Wlodarek: right. Erica Morris: remote controller works. Christine Hayes: Animation. Erica Morris: we tel Hazel Wlodarek: There is something turning. Erica Morris: There. Anna Washington: Yeah, it's a little bug it's in the in the smart board. Erica Morris: 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 Christine Hayes: Infrared light. Erica Morris: 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 Hazel Wlodarek: Yeah, I've got Erica Morris: uh Hazel Wlodarek: it there too. Erica Morris: 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. Hazel Wlodarek: Yeah. Erica Morris: Okay, well, that's my contribution to this meeting, and uh Christine Hayes: To this meeting. Anna Washington: Okay, Erica Morris: two Anna Washington: thank Erica Morris: of Anna Washington: you. Erica Morris: these this Hazel Wlodarek: Shall Erica Morris: meeting. Hazel Wlodarek: I go uh next? Anna Washington: Yep. Erica Morris: So. Hazel Wlodarek: 'Kay. Anna Washington: Please. Hazel Wlodarek: So. Christine Hayes: Smoking. Hazel Wlodarek: 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. Anna Washington: Okay, Erica Morris: Okay. Anna Washington: thank you. Christine Hayes: 'Kay. Check. Hazel Wlodarek: You must still have it open. Christine Hayes: Kijke Christine Hayes: '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. Erica Morris: Hmm. Christine Hayes: 'Kay. Findings. Fifty percent of the users lose their remote often. So we don't have to make it very small, Hazel Wlodarek: Yeah. Christine Hayes: 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, Erica Morris: Mm. Christine Hayes: 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 Erica Morris: Mm. Christine Hayes: also announced it that labels should be scratched off Hazel Wlodarek: Hmm. Christine Hayes: 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. Erica Morris: Uh L_C_D_ screen as in uh touch screen? Christine Hayes: Yeah, touch screen, Erica Morris: Okay. Christine Hayes: 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, Hazel Wlodarek: Mm. Christine Hayes: and easily on a remote control. Erica Morris: 'Kay. Christine Hayes: 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. Erica Morris: Okay. Anna Washington: Okay, Hazel Wlodarek: Oh right. Anna Washington: thank you. Um, well thank you all, huh. I dunno uh did everyone receive an email with uh the new project requirements? Hazel Wlodarek: No. Anna Washington: No? Well, Hazel Wlodarek: Res I did not. Erica Morris: No. Hazel Wlodarek: Perhaps the rest? Anna Washington: then I think it's a good thing Christine Hayes: Ja, Anna Washington: 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 Hazel Wlodarek: Oh. Anna Washington: 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. Hazel Wlodarek: Mm. Anna Washington: So, who has any idea about what should be on it, and what shouldn't? Hazel Wlodarek: Well you said it should only Christine Hayes: Be television. Hazel Wlodarek: uh work with one appliance? Or with one uh d che only the T_V_? Anna Washington: Yeah. Erica Morris: Yeah. Anna Washington: Only be used Hazel Wlodarek: And Anna Washington: for television. Hazel Wlodarek: the video also, or not uh? Christine Hayes: Only Anna Washington: Well Christine Hayes: the Anna Washington: it Christine Hayes: television. Anna Washington: says only for television here, Hazel Wlodarek: Oh. Anna Washington: huh. Hazel Wlodarek: Alright. Okay. Anna Washington: Makes it a lot easier, huh? Hazel Wlodarek: Yeah. Erica Morris: Mm. Christine Hayes: So yeah, then you can yeah. Requirements, no? Functions. Anna Washington: Mm-hmm. Hazel Wlodarek: Then it should Erica Morris: Yeah for Hazel Wlodarek: have uh on, off, Christine Hayes: Yeah, Erica Morris: Standby Hazel Wlodarek: and Christine Hayes: the Hazel Wlodarek: uh Christine Hayes: basics Erica Morris: options, yeah? Christine Hayes: then by a volume, channel, one till two zero Erica Morris: Uh yeah. Christine Hayes: numbers on it, Hazel Wlodarek: Yeah. And per Christine Hayes: oh teletext Hazel Wlodarek: perhaps uh Christine Hayes: doesn't have to be? Hazel Wlodarek: No. Christine Hayes: Um Hazel Wlodarek: Well uh uh Christine Hayes: other functions. Hazel Wlodarek: yes yes s Christine Hayes: Yeah Hazel Wlodarek: sh A button Christine Hayes: I had Hazel Wlodarek: where you can uh change from one number to two Erica Morris: Two Hazel Wlodarek: numbers. Erica Morris: s two Christine Hayes: Yeah, Erica Morris: two digits, Christine Hayes: yeah. Erica Morris: oh Hazel Wlodarek: Can Erica Morris: okay. Hazel Wlodarek: you Don't know Erica Morris: Yeah Hazel Wlodarek: if Erica Morris: I Hazel Wlodarek: that's Erica Morris: understand Hazel Wlodarek: got a name, Erica Morris: what Christine Hayes: I Erica Morris: you Christine Hayes: think Hazel Wlodarek: but Erica Morris: mean. Christine Hayes: it's I Erica Morris: Yeah. Christine Hayes: 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, Erica Morris: It makes Christine Hayes: it Erica Morris: it twelve, Christine Hayes: be between Erica Morris: yeah. Christine Hayes: five secs it make twelve, Hazel Wlodarek: Yeah. Christine Hayes: and that's Erica Morris: Indeed. Hazel Wlodarek: S Erica Morris: Okay. Christine Hayes: that's not relaxed Erica Morris: Well, not Christine Hayes: to Erica Morris: really Christine Hayes: user. Erica Morris: And and there are some models that don't uh accommodate that function. So Christine Hayes: Yeah. Erica Morris: d uh wh the Philip's television makes it possible in that indeed to uh press one and then two to Christine Hayes: So Erica Morris: make Christine Hayes: that Erica Morris: uh Hazel Wlodarek: Yeah. Erica Morris: the Christine Hayes: it easy Erica Morris: uh tj Christine Hayes: and Erica Morris: to reach Christine Hayes: fast. Erica Morris: channel twelve. But Christine Hayes: Yeah. Erica Morris: uh all the television makes uh use of those button Hazel Wlodarek: Yeah. Erica Morris: where you first press that button and then press two digits to uh Hazel Wlodarek: Yeah, so you Erica Morris: to get Hazel Wlodarek: should have that one on. Erica Morris: Uh yeah, think so. Hazel Wlodarek: Mute misschien Christine Hayes: plus, or? Hazel Wlodarek: also. Erica Morris: Mm. Anna Washington: Uh well new product should reach a market with customers that are younger than forty, and now Christine Hayes: Forties, Anna Washington: we have Christine Hayes: okay Anna Washington: current Christine Hayes: because Anna Washington: customers uh of forty plus. Christine Hayes: 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 Erica Morris: Mm-hmm. Christine Hayes: to go to the Anna Washington: Mm-hmm. Christine Hayes: next channel. With the L_C_D_ screen it's easier because you only have to wipe the screen to uh Erica Morris: Yeah, we we Christine Hayes: for Erica Morris: could Christine Hayes: fingerprint, Erica Morris: yeah. Christine Hayes: and then you Erica Morris: But Christine Hayes: can Erica Morris: I Christine Hayes: use Erica Morris: think Christine Hayes: it Erica Morris: that Christine Hayes: again. Erica Morris: uh that collides with our mission to make it very cheap. Because Christine Hayes: Yeah, Erica Morris: L_C_D_ Christine Hayes: okay. Erica Morris: screens are very expensive. Christine Hayes: Yeah but Erica Morris: A touch Christine Hayes: a Erica Morris: screen Christine Hayes: you don't Hazel Wlodarek: An Christine Hayes: know Erica Morris: uh probably uh even more. So, Christine Hayes: True. Erica Morris: true, true. But uh Well um an L_C_D_ screen uh, how was the information? Christine Hayes: 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. Erica Morris: So Christine Hayes: And if Erica Morris: perhaps Christine Hayes: the only f Erica Morris: we should we should focus on that L_C_D_ screen. Christine Hayes: Yeah, because our target is sixteen to forty five. Hazel Wlodarek: But, Erica Morris: Yeah but uh will Hazel Wlodarek: do you Erica Morris: we not uh exceed our uh our Christine Hayes: Yeah you don't Erica Morris: uh production Christine Hayes: know how much it costs. Erica Morris: uh Christine Hayes: Yeah, you don't know how much it costs, the L_C_D_ screen. Erica Morris: Is it possible to find out, anyway? Christine Hayes: No, I don't have Erica Morris: You Christine Hayes: any Erica Morris: know? Christine Hayes: costs here, I only have percentages. Hazel Wlodarek: But if you would do an L_C_D_ screen do we have don don't you have any buttons? Or because Christine Hayes: Yeah. Hazel Wlodarek: if it only directs at the T_V_, then you only have uh I don't know what you want to Erica Morris: No, an Hazel Wlodarek: do Erica Morris: L_C_D_ Hazel Wlodarek: with Erica Morris: screen's Hazel Wlodarek: the L_C_D_ Erica Morris: just Hazel Wlodarek: screen. Erica Morris: like uh like a drawn here. Um just uh displays several buttons, Hazel Wlodarek: Yeah? Erica Morris: 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 Hazel Wlodarek: Oh right, Erica Morris: and Hazel Wlodarek: so you Erica Morris: it's Hazel Wlodarek: can Erica Morris: possible to p uh press them down, Hazel Wlodarek: Oh, Erica Morris: just like a touch screen. Hazel Wlodarek: yeah alright. So you can adjust which buttons you want on that Christine Hayes: Yeah, Hazel Wlodarek: s Christine Hayes: if Hazel Wlodarek: screen. Erica Morris: Yeah, Christine Hayes: you Erica Morris: we Christine Hayes: want Erica Morris: can make Christine Hayes: to adjust, Erica Morris: it possible Christine Hayes: like Erica Morris: to do that, Christine Hayes: for Erica Morris: yeah. Christine Hayes: example, adjust the audio settings, you press audio on the touchscreen and you get Erica Morris: Yeah Christine Hayes: the buttons for Erica Morris: yeah. Christine Hayes: audio settings, Hazel Wlodarek: Yeah alright, oh right. Christine Hayes: so the other buttons are gone. Hazel Wlodarek: Yeah. Erica Morris: Yeah, yeah. Anna Washington: So we're going for an L_C_D_ screen? Hazel Wlodarek: Yeah. Christine Hayes: I Hazel Wlodarek: Would Christine Hayes: think Hazel Wlodarek: be yeah. Christine Hayes: it's the most Erica Morris: That's Christine Hayes: easier Erica Morris: my Christine Hayes: thing, Erica Morris: uh Christine Hayes: yeah. Anna Washington: And hoping that when we produce a lot it won't be too expensive. Christine Hayes: No. Erica Morris: Yeah. Hazel Wlodarek: Well we had twelve fifty, I guess, Christine Hayes: Yeah. Hazel Wlodarek: for uh Erica Morris: Twelve Hazel Wlodarek: production? Erica Morris: fifty. Hazel Wlodarek: Yeah. I dunno how expensive an Erica Morris: Um. Hazel Wlodarek: L_C_D_ screen is. Any guesses? Erica Morris: 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 Christine Hayes: Highly. Erica Morris: make 'em. Anna Washington: Mm-hmm. Erica Morris: And Hazel Wlodarek: Yeah. Erica Morris: if that is Hazel Wlodarek: But Erica Morris: our d uh market share to uh and our goal to uh deliver those uh remote Hazel Wlodarek: But Erica Morris: controls Hazel Wlodarek: he also said that we should not only focus on the younger people, but also on the older, Christine Hayes: Yeah, Hazel Wlodarek: and will Christine Hayes: but Hazel Wlodarek: they use it if it only has an Christine Hayes: Um, Hazel Wlodarek: L_C_D_ screen? Christine Hayes: s forty six to forty five, thirty three percent, and sixty fifty six to sixty five twelve percent. But Hazel Wlodarek: Oh, so Christine Hayes: our Hazel Wlodarek: still a little Christine Hayes: our Hazel Wlodarek: bit people Christine Hayes: our what's it, project requirements are the new products should be reached for new Erica Morris: Yeah. Christine Hayes: markets, to customers that are Hazel Wlodarek: Yeah Christine Hayes: younger Hazel Wlodarek: that's Christine Hayes: than forty. Hazel Wlodarek: right. But you don't want to alienate the other uh Christine Hayes: No, that not now, but, so Hazel Wlodarek: But if they also buy it then it's alright. I guess. Christine Hayes: Yeah, but market share fro for for Erica Morris: Yeah. Christine Hayes: forty years and younger is higher than that of sixty five Hazel Wlodarek: Yeah. Christine Hayes: and younger. Hazel Wlodarek: Alright. Anna Washington: Okay, so Hazel Wlodarek: An Anna Washington: L_C_D_ it is? Hazel Wlodarek: Yes. Erica Morris: Mm. Anna Washington: Okay. Erica Morris: It's treasure. Anna Washington: And Erica Morris: I Anna Washington: what Erica Morris: hope Anna Washington: else? Erica Morris: we uh h and Christine Hayes: Yeah, Erica Morris: let's Christine Hayes: i Erica Morris: hope to Christine Hayes: i if Erica Morris: reach Christine Hayes: it Erica Morris: those uh Christine Hayes: Yeah, if it costs Erica Morris: those sales. Christine Hayes: gets too much, too expensive, then yeah, we should be sticking to rubber buttons. Hazel Wlodarek: Yeah. Erica Morris: 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 Christine Hayes: N Erica Morris: screens. Hazel Wlodarek: Yeah. Christine Hayes: nothing, no costs at all. Erica Morris: Uh Hazel Wlodarek: But Erica Morris: so if Hazel Wlodarek: perhaps Erica Morris: you Hazel Wlodarek: later, Erica Morris: uh Yeah, Hazel Wlodarek: so uh Erica Morris: so if you uh you receive an email about that, uh can you post it in the Christine Hayes: Yeah, Erica Morris: or shouldn't Christine Hayes: in Erica Morris: we post that in uh our projects mail uh folder. Christine Hayes: I think Hazel Wlodarek: Yeah. Christine Hayes: that should yeah I think we all get the costs of everything. Hazel Wlodarek: I Erica Morris: Because you are Hazel Wlodarek: don't Erica Morris: the the Marketing uh Christine Hayes: Yeah, Erica Morris: Expert. Christine Hayes: okay, I'll I'll Erica Morris: I Christine Hayes: post Erica Morris: uh Christine Hayes: it. Hazel Wlodarek: Well perhaps we should have a backup plan that we would use buttons Erica Morris: Yeah sure, Hazel Wlodarek: if it's Erica Morris: sure. Hazel Wlodarek: uh Christine Hayes: Yeah. Anna Washington: Yeah, Hazel Wlodarek: too expensive. Anna Washington: okay. But for now Christine Hayes: Okay, Anna Washington: it's L_C_D_. Christine Hayes: L_C_D_, Hazel Wlodarek: Yeah. Christine Hayes: yeah. Anna Washington: Okay. Christine Hayes: Then you have the seventy five percent of users find it r ugly. Hazel Wlodarek: The L_C_D_? Christine Hayes: Yeah, Hazel Wlodarek: Oh Christine Hayes: and Hazel Wlodarek: that's Christine Hayes: eighty Hazel Wlodarek: a Christine Hayes: percent Hazel Wlodarek: bit of a problem. Christine Hayes: of the users would spend more money with a when a remote would look fancy. Hazel Wlodarek: Oh, that's Erica Morris: Mm. Hazel Wlodarek: a bit of a problem. Christine Hayes: Tha i l i it'll look fancy with Erica Morris: It's Christine Hayes: L_C_D_ Erica Morris: looks fancy Christine Hayes: screen. Erica Morris: one yeah, of L_C_D_ Hazel Wlodarek: Yeah, but Erica Morris: screen. Hazel Wlodarek: they Christine Hayes: Yeah. Hazel Wlodarek: don't they Anna Washington: Yeah. Hazel Wlodarek: don't like it. They think it's ugly. When it has an L_C_D_ Christine Hayes: Yeah, just Hazel Wlodarek: screen. Christine Hayes: a the plain remotes, not not specific L_C_D_ remotes. Hazel Wlodarek: Oh, alright, I thought that you said that. Christine Hayes: So Anna Washington: Yeah, and maybe you can make something fancy out of an L_C_D_ remote, Hazel Wlodarek: Yeah. Anna Washington: because it's new, Christine Hayes: Mm-hmm. Anna Washington: as far as I know. Christine Hayes: Yeah, Erica Morris: Mm yeah. Christine Hayes: of course. And Erica Morris: And Christine Hayes: then Erica Morris: then Christine Hayes: you have Erica Morris: not Christine Hayes: the other Erica Morris: yeah. Christine Hayes: thing, that seventy five percent zap a lot, but that's Erica Morris: Um. Christine Hayes: not a f question with the L_C_D_ screen. Only thing you have to do is wipe the screen off once each time, Erica Morris: Yeah. Christine Hayes: to get all the fingerprints off it. Hazel Wlodarek: Yeah. Erica Morris: Mm. Okay? Anna Washington: Okay, what else does our remote need? Christine Hayes: Um Hazel Wlodarek: A mute button. Anna Washington: Mute button. Christine Hayes: Mm-hmm. Hazel Wlodarek: I think. Christine Hayes: The most important Hazel Wlodarek: And Christine Hayes: things on a f on an on an uh remote control are channel selection, volume con selection, Erica Morris: Yeah. Christine Hayes: and power s power usage. Hazel Wlodarek: Yeah. Christine Hayes: And a teletext, but that Hazel Wlodarek: But Christine Hayes: is not of the question. Other things are Hazel Wlodarek: you put a button of Christine Hayes: Sorry? Hazel Wlodarek: for teletext on the for the people who want to use it? Christine Hayes: Yeah, it Hazel Wlodarek: Remembering Christine Hayes: could be. Hazel Wlodarek: we have got a big remote Christine Hayes: Yeah. Hazel Wlodarek: that you have to fill. Anna Washington: Mm-hmm. Yeah, and we could make an a a separate menu on the L_C_D_ Christine Hayes: Yeah, teletext. Anna Washington: uh Erica Morris: Yeah. Anna Washington: screen Hazel Wlodarek: Yeah. Anna Washington: for teletext. Erica Morris: And there's Christine Hayes: And Erica Morris: also Christine Hayes: other Erica Morris: a Christine Hayes: other less important things are screen settings, audio settings, and channel settings, Hazel Wlodarek: Yeah, they Christine Hayes: but Hazel Wlodarek: are less important, but I think they should Christine Hayes: Less important. Hazel Wlodarek: be there, Christine Hayes: Yeah, Hazel Wlodarek: or not? Christine Hayes: should be there, but not Erica Morris: A sh but in a sub sub-menu Christine Hayes: press Erica Morris: or Christine Hayes: Yeah, Erica Morris: something Christine Hayes: sub-menu, Erica Morris: like that. Christine Hayes: yeah. Erica Morris: 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 Anna Washington: Mm-hmm. Hazel Wlodarek: Like with Erica Morris: to be Hazel Wlodarek: a with Erica Morris: yeah Hazel Wlodarek: a mouse, you Erica Morris: yeah sure. Hazel Wlodarek: have not, Erica Morris: Indeed. Hazel Wlodarek: yeah. Erica Morris: So uh you can mount uh the the the uh Christine Hayes: Yeah, in a breath it's Erica Morris: uh the remote control to um Anna Washington: Mm-hmm. Christine Hayes: Charted. Hazel Wlodarek: We should think Erica Morris: to refill Hazel Wlodarek: of the twelve fifty Erica Morris: the Hazel Wlodarek: we have but Christine Hayes: Yeah, but we don't Hazel Wlodarek: I Christine Hayes: we Hazel Wlodarek: don't Christine Hayes: don't Hazel Wlodarek: know Christine Hayes: have Hazel Wlodarek: how Christine Hayes: any Hazel Wlodarek: much Christine Hayes: costs Hazel Wlodarek: that's Erica Morris: Yeah. Hazel Wlodarek: going Christine Hayes: now, so Hazel Wlodarek: to uh Erica Morris: Okay, Christine Hayes: Yeah. Erica Morris: because i uh when you get an L_C_D_ screen, you run it on batteries, Hazel Wlodarek: Yeah. Erica Morris: the batteries will be uh empty Christine Hayes: Yeah Erica Morris: very Christine Hayes: e Erica Morris: soon, Christine Hayes: e power Erica Morris: very Christine Hayes: supply Erica Morris: fast. Christine Hayes: is one of Hazel Wlodarek: You Christine Hayes: the Hazel Wlodarek: should Christine Hayes: most important things. Hazel Wlodarek: Perhaps you should be able to Erica Morris: Yeah. Hazel Wlodarek: to switch the control off. If you have an L_C_D_ screen that's burns all the time I dunno. Erica Morris: Yeah, yeah. Yeah. Hazel Wlodarek: 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 Anna Washington: Mm-hmm. Erica Morris: Uh Hazel Wlodarek: I don't Christine Hayes: Yeah, I Hazel Wlodarek: know. Christine Hayes: 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 Hazel Wlodarek: Nee Christine Hayes: first Hazel Wlodarek: that's Christine Hayes: and then Hazel Wlodarek: that's Christine Hayes: use it, so Hazel Wlodarek: uh yeah. Christine Hayes: I think it's better when th the T_V_ shuts down, the remote shuts down. Hazel Wlodarek: But Erica Morris: And Hazel Wlodarek: then you Erica Morris: go Hazel Wlodarek: can't Erica Morris: to standby mode when you don't use Christine Hayes: Yeah. Hazel Wlodarek: Yeah. Erica Morris: it, so that Hazel Wlodarek: Yeah yeah au automac matically, that it Erica Morris: Yeah, automatically. Hazel Wlodarek: yeah. Christine Hayes: Yeah. Erica Morris: After two Christine Hayes: After Erica Morris: minutes Christine Hayes: two Erica Morris: or three Christine Hayes: minutes, yeah Erica Morris: minutes, Christine Hayes: two three Erica Morris: something Christine Hayes: minutes, Erica Morris: like Christine Hayes: yeah. Erica Morris: that. Hazel Wlodarek: Yeah. Anna Washington: Yeah. And maybe a low battery indicator? Erica Morris: Yeah. Anna Washington: On the screen. Erica Morris: Sure. Christine Hayes: Yeah. And then b that uh before an hour when its get again gets empty. Erica Morris: Yeah. Christine Hayes: Then you have plenty of time to recharge it, of put Erica Morris: Mm. Christine Hayes: it in a recharger. Charger. Anna Washington: So we are going for the for the recharger. Erica Morris: Yeah. Christine Hayes: Yeah, Anna Washington: Okay. Christine Hayes: if it's. Uh. Hazel Wlodarek: If it's sensible. Christine Hayes: Yeah, because when you're watching T_V_, Hazel Wlodarek: Yeah. Christine Hayes: you're zapping and you have to put it in a recharger, Hazel Wlodarek: Yeah, Christine Hayes: and I don't Hazel Wlodarek: b when Erica Morris: No, Christine Hayes: think Hazel Wlodarek: the Christine Hayes: it Hazel Wlodarek: batteries Erica Morris: when you Hazel Wlodarek: are low Erica Morris: when you're done with s uh w uh Christine Hayes: Yeah, okay, but then we Erica Morris: watching Christine Hayes: have to be Erica Morris: your Christine Hayes: sure Erica Morris: television, Christine Hayes: that the Erica Morris: you Christine Hayes: the Erica Morris: have Christine Hayes: the Erica Morris: to put Christine Hayes: the batteries Erica Morris: it Christine Hayes: go hours, six hours, five, Erica Morris: Yeah sure, Christine Hayes: six hours, Hazel Wlodarek: But you'll Erica Morris: of course. Christine Hayes: then. Hazel Wlodarek: also forget to put it in, Christine Hayes: Yeah, then Hazel Wlodarek: because Erica Morris: Yeah, Christine Hayes: you have Hazel Wlodarek: you Erica Morris: but Christine Hayes: a problem. Hazel Wlodarek: throw it on the couch and you don't remember. Erica Morris: But you also forget to buy batteries, Hazel Wlodarek: Yeah. That's Erica Morris: and Hazel Wlodarek: right. Erica Morris: then you can you can't use it, so Hazel Wlodarek: Yeah. Erica Morris: I Christine Hayes: Or we have to be sure that the batteries last couple of days when they're recharged. Erica Morris: Yeah. Christine Hayes: So. Hazel Wlodarek: Well I think the batteries should should w should work a lot longer than a couple of days, Christine Hayes: Yeah because Hazel Wlodarek: or not? Christine Hayes: you have b but Hazel Wlodarek: 'Cause Christine Hayes: you have L_C_D_ screen. Hazel Wlodarek: Yeah, that's right, Christine Hayes: High power Hazel Wlodarek: but Christine Hayes: usage. Erica Morris: 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 Christine Hayes: Yes. Erica Morris: watching television, that's also a a a great advantage because you can't lose it anymore. Because you are Christine Hayes: True. Erica Morris: obliged to uh put it in the charger Christine Hayes: Yeah. Yeah. Erica Morris: and not Christine Hayes: True. Erica Morris: to uh leave it in a couch uh between some cushions. Hazel Wlodarek: Yeah. Right. Christine Hayes: Yeah, Erica Morris: Okay. Christine Hayes: you made a point there. Hazel Wlodarek: But Anna Washington: Yeah, Hazel Wlodarek: then you also Anna Washington: also. Hazel Wlodarek: have to s have somewhere where you can put a remo recharger near your couch because otherwise you have to Christine Hayes: Yeah, otherwise Hazel Wlodarek: walk Christine Hayes: all Hazel Wlodarek: a Christine Hayes: your Hazel Wlodarek: long Christine Hayes: yeah. Hazel Wlodarek: way when you twoft want to turn on the T_V_. Christine Hayes: Just a small device. Hazel Wlodarek: Yeah. Erica Morris: Yeah it Christine Hayes: Plug Hazel Wlodarek: I think Erica Morris: hasn't Christine Hayes: it in, Erica Morris: It Hazel Wlodarek: everything Erica Morris: doesn't Christine Hayes: that's Erica Morris: have Christine Hayes: it. Hazel Wlodarek: has Erica Morris: to be big. Hazel Wlodarek: it Christine Hayes: Yeah, Hazel Wlodarek: for Christine Hayes: like a Hazel Wlodarek: and Christine Hayes: like Hazel Wlodarek: I Christine Hayes: telephone Hazel Wlodarek: guess. Christine Hayes: charger or something. Erica Morris: Yeah just just a cable, or Christine Hayes: Yeah. Erica Morris: a even a a a a a charger where you can mount it on. Christine Hayes: Yeah. Erica Morris: Something like that, just u Hazel Wlodarek: Yeah. Erica Morris: Okay. Hazel Wlodarek: Alright. Anna Washington: Okay, well Christine Hayes: It has to be Anna Washington: I've Christine Hayes: easy to use also, or Anna Washington: Yeah, Christine Hayes: things. Anna Washington: you have some more points. Christine Hayes: Uh market share, speaker re speech recognition. I think. Erica Morris: Functional designs uh for the elderly uh you could make it possible to enlarge the screen, so make Christine Hayes: Also. Erica Morris: it possible to not uh display uh a button at ten points uh, Christine Hayes: Well I Erica Morris: or Christine Hayes: think that this should be standard. Large Erica Morris: Yeah but it is Christine Hayes: button Erica Morris: uh one Christine Hayes: large Erica Morris: of the functions Christine Hayes: buttons. Erica Morris: you have to uh specify. Christine Hayes: Yeah? Okay. Erica Morris: Because we can look at uh uh perhaps uh forty buttons at a screen, but the elderly only look at two buttons. Okay. Anna Washington: And you said something about speech recognition? Christine Hayes: Yeah, it Erica Morris: Speech Christine Hayes: says also Erica Morris: recognition? Christine Hayes: Yeah. Erica Morris: Hello. Twelve Euro twelve Hazel Wlodarek: Yeah, Christine Hayes: Twelve. Hazel Wlodarek: twelve Erica Morris: Euro Hazel Wlodarek: fifty, Erica Morris: fifty. Hazel Wlodarek: twelve fifty. Christine Hayes: 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. Hazel Wlodarek: So it's pretty Erica Morris: Well, Hazel Wlodarek: big. Erica Morris: spread Christine Hayes: But Erica Morris: it by a Christine Hayes: then Erica Morris: big Christine Hayes: I Erica Morris: market. Christine Hayes: I I Anna Washington: Even bigger than for L_C_D_. Hazel Wlodarek: Yeah. Christine Hayes: Yeah. Hazel Wlodarek: W I know let's do a speech. Erica Morris: Well let's leave out all the remote controls and just put a Hazel Wlodarek: Yeah. Erica Morris: microphone Hazel Wlodarek: Yeah. Erica Morris: on top Christine Hayes: Yeah. Erica Morris: of the television to Christine Hayes: Ninety. Twenty five. Hazel Wlodarek: You can clap Erica Morris: Yeah Hazel Wlodarek: or something. Erica Morris: Yeah. Christine Hayes: channel. Erica Morris: Turn volume up. Hazel Wlodarek: Yeah. Erica Morris: Hey, that that's an idea. Hazel Wlodarek: Now you shouldn't say the wrong thing, I dunno. Christine Hayes: Yeah. Erica Morris: Okay, well that should it has to be remote control, not Christine Hayes: Yeah, Erica Morris: Yeah. Christine Hayes: twelve. Hazel Wlodarek: But they want to talk into the remo remote Christine Hayes: Yeah. Hazel Wlodarek: control, Erica Morris: Sure Hazel Wlodarek: or Erica Morris: why Hazel Wlodarek: something, Erica Morris: not Hazel Wlodarek: or? Christine Hayes: Is Erica Morris: why Christine Hayes: this Erica Morris: not Christine Hayes: only would you would you pay more for speech recognition in a remote control. It's Erica Morris: Yeah, Christine Hayes: the only thing it says. Erica Morris: mm. Hazel Wlodarek: Oh, but do we want to implement that, or? Christine Hayes: I think an L_C_D_ screen should be suf sufficient. Erica Morris: Yeah. Anna Washington: But when you look at the percentages Christine Hayes: Yeah, it says a lot, but Erica Morris: Perhaps the options Anna Washington: Speech Erica Morris: should Anna Washington: recognition Erica Morris: be uh Anna Washington: scores even higher, huh? Erica Morris: Why not? Anna Washington: Yeah, Erica Morris: Why not? Anna Washington: well, maybe because of the cost, but uh Hazel Wlodarek: Yeah. Anna Washington: nobody knows uh how Erica Morris: Let's Anna Washington: much Erica Morris: hope uh Anna Washington: uh Hazel Wlodarek: I Christine Hayes: No Hazel Wlodarek: know Erica Morris: to have Christine Hayes: I Anna Washington: it Christine Hayes: think Erica Morris: some Christine Hayes: I Anna Washington: will Erica Morris: uh Christine Hayes: think Anna Washington: cost Christine Hayes: it's Erica Morris: d Christine Hayes: better to have Anna Washington: uh. Christine Hayes: 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. Hazel Wlodarek: Mm. Anna Washington: But would it be useful to imple implement both? Christine Hayes: Yeah, Anna Washington: On one remote? Christine Hayes: if the Hazel Wlodarek: Well Christine Hayes: costs Anna Washington: Or Christine Hayes: al allow it. Anna Washington: Yeah, Hazel Wlodarek: I Anna Washington: I Hazel Wlodarek: don't Anna Washington: dunno. Hazel Wlodarek: know if that can be done with the cost of twelve fifty. Christine Hayes: Nee. Hazel Wlodarek: With that uh Christine Hayes: If it should be done, if it could be done, Hazel Wlodarek: Yeah, Erica Morris: We Christine Hayes: I Erica Morris: should Christine Hayes: won't Erica Morris: do Christine Hayes: matter. Erica Morris: it. Hazel Wlodarek: but how Christine Hayes: Yeah. Hazel Wlodarek: would Erica Morris: Yeah. Hazel Wlodarek: you Erica Morris: Sure. Hazel Wlodarek: like to implement that, that you say volume up, and then it goes Erica Morris: Yeah. Hazel Wlodarek: up, Christine Hayes: Yeah. Hazel Wlodarek: or? Uh. Erica Morris: Certain systems already exist, I think. Christine Hayes: Mm-hmm. Hazel Wlodarek: Then you also have to have different languages if we go international. Then uh Christine Hayes: True. Hazel Wlodarek: it's y Erica Morris: True, Hazel Wlodarek: it's Erica Morris: yeah. Hazel Wlodarek: yours to do Christine Hayes: Yeah. Hazel Wlodarek: a Christine Hayes: True. Hazel Wlodarek: French and Erica Morris: Yeah. Hazel Wlodarek: Dutch and English and Christine Hayes: But that should Erica Morris: This should be Christine Hayes: also Erica Morris: uh accommodated Christine Hayes: be with f Erica Morris: with some software, Christine Hayes: should be also with L_C_D_ Erica Morris: uh, Christine Hayes: screen. Erica Morris: uh. Yeah. Christine Hayes: Because then I think in Chinese Hazel Wlodarek: Yeah, Christine Hayes: is Hazel Wlodarek: that's Christine Hayes: different Hazel Wlodarek: right. Christine Hayes: written, volume is different written than um Hazel Wlodarek: Yeah. Christine Hayes: Swahili Erica Morris: Right. Christine Hayes: or something. Erica Morris: Swahili. Hazel Wlodarek: Yeah you Erica Morris: Swahili. Hazel Wlodarek: can use icons for the Erica Morris: Yeah. Christine Hayes: Ja, well possible. Hazel Wlodarek: a speaker and uh Erica Morris: Indeed. Hazel Wlodarek: But if that's better Christine Hayes: Yeah, yeah Hazel Wlodarek: than Christine Hayes: yeah Hazel Wlodarek: language Christine Hayes: yeah. Hazel Wlodarek: for Erica Morris: Yeah. Hazel Wlodarek: the for the remote. Erica Morris: So we want to uh yeah it's international Hazel Wlodarek: Then it's Erica Morris: uh Hazel Wlodarek: Yeah. Erica Morris: okay. Okay. Christine Hayes: 'Kay, what else? Anna Washington: So, no speech recognition? Or Hazel Wlodarek: Well, if it could be done, we Christine Hayes: Yeah, we Erica Morris: Y Christine Hayes: have Erica Morris: it Christine Hayes: to Erica Morris: should Christine Hayes: keep Erica Morris: be done. Christine Hayes: Yeah. Erica Morris: If it could be done, should be done. Hazel Wlodarek: Yeah. Anna Washington: Yeah, and then we have different languages. Hazel Wlodarek: Yeah, that should be uh Erica Morris: That's not so difficult Hazel Wlodarek: anything matters. Erica Morris: at all, Anna Washington: Okay, Erica Morris: because Anna Washington: just make Erica Morris: I Anna Washington: a separate Erica Morris: already Anna Washington: remote Erica Morris: use Anna Washington: for Erica Morris: on several Anna Washington: each uh Erica Morris: voice operated systems, and they are all possible to uh not all, but Hazel Wlodarek: Well, you Christine Hayes: I think Hazel Wlodarek: sh Christine Hayes: it's Hazel Wlodarek: you Christine Hayes: difficult. Hazel Wlodarek: should to adjust the thing. Christine Hayes: Every language of dialects Hazel Wlodarek: Yeah. Christine Hayes: I think it's very differen difficult. Hazel Wlodarek: And you have to speak the so that it Christine Hayes: Yeah. Hazel Wlodarek: can understand. Christine Hayes: I think it can't be implemented, but maybe Hazel Wlodarek: You could use that n as an option, Christine Hayes: Yeah, Hazel Wlodarek: if you Christine Hayes: 's Hazel Wlodarek: have Christine Hayes: an option, yes. Hazel Wlodarek: money left, or something. Erica Morris: Yeah, sure, indeed. Christine Hayes: Fifty Euro cents. Hazel Wlodarek: Yeah. Let's do speech. Christine Hayes: Yeah. Erica Morris: For speech recognition. Anna Washington: Okay, so we only do this when we have enough money left. Hazel Wlodarek: Yeah. Anna Washington: 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. Hazel Wlodarek: Mm. Anna Washington: And uh the possibility to uh enlarge buttons or to have large buttons Christine Hayes: Mm, Hazel Wlodarek: Yeah. Christine Hayes: yes. Hazel Wlodarek: I Anna Washington: in Hazel Wlodarek: With Anna Washington: general. Hazel Wlodarek: uh teletext if it wasn't ver very important, Christine Hayes: No, Hazel Wlodarek: it was Christine Hayes: but Hazel Wlodarek: but You also now have colours. I don't know if we should implement that. Christine Hayes: Curved? Hazel Wlodarek: Yeah, when you press the red button, you go to page one hundred two, and when you press the Erica Morris: Uh yeah. Hazel Wlodarek: I don't know if we should Christine Hayes: Um. Hazel Wlodarek: implement that, because it says that teletext not really Erica Morris: S Hazel Wlodarek: important, Erica Morris: Shortcuts. Hazel Wlodarek: but Erica Morris: Uh. Hazel Wlodarek: yeah, the shortcut, Christine Hayes: I Hazel Wlodarek: and Christine Hayes: think Hazel Wlodarek: you can't Christine Hayes: we should Hazel Wlodarek: go Christine Hayes: we Hazel Wlodarek: to Christine Hayes: could Hazel Wlodarek: sport. Christine Hayes: that we could also implement a audio settings, screen settings and channel settings, but as sub-menus. Hazel Wlodarek: Yeah. Erica Morris: Mm. Christine Hayes: 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 Erica Morris: Sh Christine Hayes: press it. Erica Morris: Yeah, Christine Hayes: It Erica Morris: just Christine Hayes: should be Erica Morris: just Christine Hayes: available Erica Morris: sub-menu. Christine Hayes: but not Erica Morris: Yeah. Hazel Wlodarek: 'Cause Erica Morris: Not Hazel Wlodarek: it should Erica Morris: directly Christine Hayes: not Hazel Wlodarek: be there. Christine Hayes: Yeah. Erica Morris: uh available. Christine Hayes: Yeah. Erica Morris: Okay. Anna Washington: Okay, too much teletext support, but in a separate menu, and Christine Hayes: Yeah. Erica Morris: Mm. Hazel Wlodarek: So actually it is there but it's Christine Hayes: Yeah, but Hazel Wlodarek: just Christine Hayes: s Hazel Wlodarek: not r ready Erica Morris: Directly Hazel Wlodarek: there. Erica Morris: available. Christine Hayes: Yeah. Erica Morris: So does it confuse uh the Hazel Wlodarek: You'll Erica Morris: user? Hazel Wlodarek: have to search Christine Hayes: They'd Hazel Wlodarek: for Christine Hayes: have Hazel Wlodarek: it. Christine Hayes: to be easy Erica Morris: Uh. Christine Hayes: to use. Erica Morris: I'll search um. If you want to use teletext, you can push the teletext Hazel Wlodarek: Yeah. Erica Morris: button and then the options uh become available. Hazel Wlodarek: Yeah, that's a Christine Hayes: The sign of it. Anna Washington: Okay, but no more buttons or functions, or? Christine Hayes: Uh, Erica Morris: No. Hazel Wlodarek: I guess Christine Hayes: no. Hazel Wlodarek: not. Christine Hayes: What else can you do with Hazel Wlodarek: We've Christine Hayes: a Hazel Wlodarek: got Christine Hayes: television? Hazel Wlodarek: anon Anna Washington: Aren't we forgetting something Hazel Wlodarek: Have got got Anna Washington: very Hazel Wlodarek: two Anna Washington: important? Hazel Wlodarek: examples here, but I don't think there's anything Christine Hayes: Uh Hazel Wlodarek: we're missing. Christine Hayes: play, pause, doesn't n need to be Hazel Wlodarek: Well, we Christine Hayes: there. Hazel Wlodarek: don't have the video orders Christine Hayes: Yes, so this is your presentation. We could check the other remote controls with Hazel Wlodarek: Yeah, you Christine Hayes: technical Hazel Wlodarek: could look Christine Hayes: functions. Hazel Wlodarek: here all the the Christine Hayes: Which ones were yours? Hazel Wlodarek: Uh th th th th I don't know, technical Christine Hayes: Techni Hazel Wlodarek: functions. They're a bit small, you can we should stretch them, because Anna Washington: Ping. Christine Hayes: Ja ja ja ja ja. Technical functions. Yeah okay. Hazel Wlodarek: I guess we've got them all. Christine Hayes: Uh I think I go to have volume, mute but I Yeah. Very slow. Yeah, the zoom buttons. Hazel Wlodarek: And for a T_V_? Christine Hayes: Yeah, b wide Hazel Wlodarek: Can you zoom Christine Hayes: screen, Hazel Wlodarek: in a T_V_? Christine Hayes: high screen, different Hazel Wlodarek: Or Christine Hayes: things Hazel Wlodarek: that Christine Hayes: you Hazel Wlodarek: you Christine Hayes: have, Hazel Wlodarek: can put 'em on uh on Christine Hayes: yeah different Hazel Wlodarek: on wide Christine Hayes: uh Hazel Wlodarek: and Christine Hayes: Yeah. Hazel Wlodarek: yeah. But that should also be a sub then, a sub uh menu Erica Morris: Menu. Christine Hayes: Yeah Hazel Wlodarek: thing. Christine Hayes: it should be available, but then in separate screen settings or something. Hazel Wlodarek: Yeah, Erica Morris: Mm. Hazel Wlodarek: so we should also implement se screen settings. Christine Hayes: Yeah, screen settings, audio settings, Hazel Wlodarek: Oh Christine Hayes: teletext Hazel Wlodarek: right. Christine Hayes: settings you have. Hazel Wlodarek: Yeah. Christine Hayes: Channel settings. Hazel Wlodarek: Yeah, so you can program Christine Hayes: So those Hazel Wlodarek: the Christine Hayes: four, and of course the main. Hazel Wlodarek: Yeah, so the first you see the main, and the other ones you can Christine Hayes: Yeah. Hazel Wlodarek: uh go Christine Hayes: Yeah. Hazel Wlodarek: to uh Christine Hayes: Like tap screens or something Hazel Wlodarek: Yeah. Christine Hayes: or, I dunno. Hazel Wlodarek: I Christine Hayes: Something Hazel Wlodarek: hope we can do this. Erica Morris: There are a Christine Hayes: Yeah, Erica Morris: lot of options Christine Hayes: if Erica Morris: depending Christine Hayes: uh Erica Morris: uh on what kind of television you got. 'Cause if you don't got a wide screen television you don't need the uh Christine Hayes: No, you don't Erica Morris: the screen Christine Hayes: yu a Erica Morris: settings Christine Hayes: no you then Erica Morris: uh Christine Hayes: you Erica Morris: for Christine Hayes: don't no ni Erica Morris: uh Christine Hayes: don't then you don't use it. Erica Morris: Yeah and if the television does not support such uh operations Christine Hayes: Mm-hmm. Hazel Wlodarek: We don't have to use that top. Yeah. Christine Hayes: Yeah. Erica Morris: Yeah. Christine Hayes: So you leave it alone. Erica Morris: Yeah. Christine Hayes: Yeah. Or it could be possible to have a a standard version of the remote, Hazel Wlodarek: Yeah. Christine Hayes: an expanded version. Hazel Wlodarek: And do we want them in different colours, Christine Hayes: Yeah. Hazel Wlodarek: or And Christine Hayes: Colours. Hazel Wlodarek: and the buttons, should they have Christine Hayes: Yeah. Hazel Wlodarek: colours? Erica Morris: Colours I think the main colour of the Hazel Wlodarek: Oh but we Erica Morris: remote Hazel Wlodarek: don't have Erica Morris: control Hazel Wlodarek: any buttons. Erica Morris: is uh the colour of the L_C_D_ screen. Hazel Wlodarek: Yeah. Erica Morris: I Anna Washington: Yeah. Erica Morris: Because Christine Hayes: Yeah, Erica Morris: we don't Christine Hayes: then Erica Morris: want Christine Hayes: defines Erica Morris: a lot Christine Hayes: itself. Erica Morris: a devi yeah Christine Hayes: Because Erica Morris: a device Christine Hayes: uh Erica Morris: self s g Christine Hayes: how many percent? Eighty percent? Hazel Wlodarek: They think it's ugly, Christine Hayes: Would spend Hazel Wlodarek: right? Christine Hayes: more money if it looks fancy. Erica Morris: Okay, so use uh very uh lot of peo Hazel Wlodarek: Perhaps you can uh make adjustable fronts, like with the telephones. Erica Morris: Adjust with phones, yes Hazel Wlodarek: You can uh But Erica Morris: Okay. Hazel Wlodarek: I Erica Morris: Twelve Hazel Wlodarek: don't Erica Morris: Euro fifty. Hazel Wlodarek: think that uh Erica Morris: Well, make it available in different colours, you mean? Sure. Hazel Wlodarek: Yeah. Christine Hayes: Yeah. Erica Morris: Red, white, blue, black. Christine Hayes: Rasta Anna Washington: And a see-through Christine Hayes: colours. Erica Morris: Grey. Anna Washington: uh Erica Morris: Yeah Hazel Wlodarek: Yeah. Erica Morris: sea view, Christine Hayes: Yeah, see Erica Morris: yes, Christine Hayes: through version. Erica Morris: Simpson's versions and Christine Hayes: Yeah. If you press a button, it turns green. Hazel Wlodarek: Yeah. Anna Washington: Okay, Erica Morris: Leave. Hazel Wlodarek: A Anna Washington: well Hazel Wlodarek: disco version. Anna Washington: that's the Hazel Wlodarek: Five minutes? Anna Washington: 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 Erica Morris: Yeah. Anna Washington: what else? Christine Hayes: Channel settings? Hazel Wlodarek: Oh yeah, right. Anna Washington: Channel Hazel Wlodarek: So you Anna Washington: settings. Hazel Wlodarek: can program the T_V_. Christine Hayes: Yeah. Anna Washington: Okay. Christine Hayes: Mm. Hazel Wlodarek: Perhaps you should you'd throw them on on in one pile. So, options, and then you sub them. Christine Hayes: Yeah. Hazel Wlodarek: Otherwise Christine Hayes: Could Hazel Wlodarek: you Christine Hayes: be possible. Hazel Wlodarek: have all those teletext, perhaps teletext Erica Morris: Mm. Hazel Wlodarek: not, but Christine Hayes: Or like uh you Anna Washington: No, Christine Hayes: have Anna Washington: we Christine Hayes: a menu Anna Washington: said teletext Christine Hayes: button, you Anna Washington: also Christine Hayes: press Anna Washington: a separate menu. Christine Hayes: Yeah, or Hazel Wlodarek: Yeah, Christine Hayes: otherwise Hazel Wlodarek: but I Christine Hayes: you have a menu button, press menu then you have uh Hazel Wlodarek: Yeah. Christine Hayes: main uh menu search uh all the all the settings. Hazel Wlodarek: Yeah. Anna Washington: Okay, Hazel Wlodarek: But Anna Washington: but we can work that out Christine Hayes: Yeah, Anna Washington: later, Christine Hayes: no problem. Anna Washington: I guess. So Christine Hayes: Yep. Anna Washington: 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 Hazel Wlodarek: I don't Anna Washington: uh Hazel Wlodarek: know. Anna Washington: large icons or small icons and Christine Hayes: Um, Anna Washington: I don't know what Erica Morris: No. Anna Washington: else, but Christine Hayes: I think b because we don't have a lot of buttons on the one screen, I Hazel Wlodarek: Or Christine Hayes: think Hazel Wlodarek: do we Christine Hayes: the Hazel Wlodarek: have Christine Hayes: buttons Hazel Wlodarek: any buttons? Christine Hayes: Yeah, Hazel Wlodarek: On the Christine Hayes: but Hazel Wlodarek: remote. Christine Hayes: but or Hazel Wlodarek: Which Christine Hayes: like Hazel Wlodarek: one? Christine Hayes: you have you only have channel button or volume button. Those buttons Hazel Wlodarek: But Christine Hayes: you Anna Washington: Yeah, Christine Hayes: can Hazel Wlodarek: that's Anna Washington: but Hazel Wlodarek: also Anna Washington: on Christine Hayes: you Anna Washington: the Christine Hayes: can Anna Washington: L_C_D_, Hazel Wlodarek: in the L_C_D_, Anna Washington: huh? Hazel Wlodarek: right? Christine Hayes: Yeah. Anna Washington: Right, yeah, okay. Christine Hayes: Yeah, Hazel Wlodarek: So we don't Christine Hayes: th Hazel Wlodarek: have any normal buttons Christine Hayes: No, no Hazel Wlodarek: that Christine Hayes: normal Hazel Wlodarek: uh No, Christine Hayes: buttons, Hazel Wlodarek: alright. Christine Hayes: yeah. Maybe only the on and o Hazel Wlodarek: Yet Christine Hayes: on Hazel Wlodarek: on Christine Hayes: and off Hazel Wlodarek: and off Christine Hayes: button. Hazel Wlodarek: is Anna Washington: But Hazel Wlodarek: p is Anna Washington: we don't Hazel Wlodarek: perhaps Erica Morris: Uh Christine Hayes: But Anna Washington: need Erica Morris: not Christine Hayes: I don't Anna Washington: a special Erica Morris: button Hazel Wlodarek: you kno Christine Hayes: think Anna Washington: we don't need a special options menu for the remote itself. Christine Hayes: Mm, Hazel Wlodarek: No, Christine Hayes: no. Hazel Wlodarek: no. Anna Washington: Okay. Hazel Wlodarek: Oh well, you should be able to set which T_V_ you have. If you Erica Morris: Yeah Hazel Wlodarek: have Erica Morris: sure, of Hazel Wlodarek: if Erica Morris: course Hazel Wlodarek: you Erica Morris: you need Hazel Wlodarek: have uh Erica Morris: uh a settings button, uh or a settings option for the remote control. Hazel Wlodarek: Yeah. But isn't idea to use uh uh what you said, uh normal on and off button for the T_V_, Christine Hayes: No no Hazel Wlodarek: that Christine Hayes: no, Hazel Wlodarek: you Christine Hayes: because Hazel Wlodarek: don't have Christine Hayes: we Hazel Wlodarek: to Christine Hayes: we Hazel Wlodarek: use a Christine Hayes: discussed that you could charge it, otherwise is it it jumps to stand-by mode Hazel Wlodarek: Yeah Christine Hayes: automatically. Hazel Wlodarek: but but not for the remote but for the T_V_, that Christine Hayes: Yeah, Hazel Wlodarek: you Christine Hayes: but Hazel Wlodarek: use Christine Hayes: 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. Hazel Wlodarek: But a not as normal button, Christine Hayes: No. Hazel Wlodarek: in the L_C_D_, yeah. Anna Washington: 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 Hazel Wlodarek: No you just Anna Washington: on button Hazel Wlodarek: tap Anna Washington: on the remote, Hazel Wlodarek: I Christine Hayes: Yeah, Hazel Wlodarek: think. Christine Hayes: you Erica Morris: Just Christine Hayes: tap. Erica Morris: tap Anna Washington: huh? Erica Morris: it. Christine Hayes: Touch Anna Washington: Tap Christine Hayes: screen, Anna Washington: the thing. Okay. Christine Hayes: yeah then it's turn Anna Washington: And then Christine Hayes: turn off, Anna Washington: the television Christine Hayes: turn on. Anna Washington: is on also, or just the remote? Christine Hayes: No, just the remote. A television Anna Washington: Sure. Hazel Wlodarek: But Christine Hayes: don't have to be on, that one you can Erica Morris: Yeah, it Christine Hayes: press Erica Morris: should Christine Hayes: on, Erica Morris: be in standby mode, Christine Hayes: yeah stand-by, Erica Morris: but Christine Hayes: then press on remote, press on and then T_V_ should be available. Hazel Wlodarek: Yeah a yeah. Christine Hayes: Or not. Hazel Wlodarek: I don't know whether it's handy to have a n a normal on button, a r just uh Christine Hayes: Separate. Hazel Wlodarek: 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 Erica Morris: A A A normal button Hazel Wlodarek: Yeah, Erica Morris: on the remote control, Hazel Wlodarek: yeah. Erica Morris: or norm? Hazel Wlodarek: To turn it on. Of or you should put it in the L_C_D_ screen. Erica Morris: Yeah, because uh when you touch the L_C_D_ screen when it is in standby mode, it should pop on. Hazel Wlodarek: Yeah, I have, yeah. Anna Washington: Okay, Erica Morris: Wh uh why Anna Washington: well Erica Morris: would it be a a need to have a normal button? Hazel Wlodarek: 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. Christine Hayes: 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 Erica Morris: Mm. Christine Hayes: button, and of course of also the on and off button. Hazel Wlodarek: Oh right. Erica Morris: I think it looks a lot more fancy if Hazel Wlodarek: Yeah, Erica Morris: you use Hazel Wlodarek: I think Erica Morris: uh Hazel Wlodarek: so too. Erica Morris: if Hazel Wlodarek: Otherwise Erica Morris: you don't have any Hazel Wlodarek: y Erica Morris: buttons Hazel Wlodarek: wet e k Erica Morris: on Hazel Wlodarek: Yeah. Erica Morris: the s on Anna Washington: Yeah. Christine Hayes: Yeah. Erica Morris: on remote control. Anna Washington: So actually we're going to create a a button-less uh Hazel Wlodarek: Yeah. Anna Washington: remote. No buttons at all. Okay, well that's might be a unique selling point, huh for Christine Hayes: Mm-hmm. Anna Washington: a remote. Hazel Wlodarek: If we can afford Anna Washington: Okay, well Hazel Wlodarek: it. Christine Hayes: Yeah, Anna Washington: I Christine Hayes: if we Anna Washington: guess Christine Hayes: can afford Anna Washington: we have to Christine Hayes: it. Yeah. Anna Washington: postpone Erica Morris: Oh, okay Anna Washington: further discussion to uh our next meeting, because we're running out of time. Um for now, we're having a lunch break, Erica Morris: Oh. Anna Washington: 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 Erica Morris: Mm. Anna Washington: 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. Hazel Wlodarek: Alright. Anna Washington: Luckily as we are. Okay, well thank you very much, Christine Hayes: Mm-hmm. Anna Washington: for now, and uh Hazel Wlodarek: Lunch. Anna Washington: have a nice lunch, huh? Erica Morris: Okay. Food. Hazel Wlodarek: Should we put this back in our rooms, or uh? Erica Morris: Yeah, think so. Hazel Wlodarek: Yeah.

Anna Washington opened the meeting and then Erica Morris discussed the interior workings of a remote along with his personal preferences for the appearance of a remote. Hazel Wlodarek discussed the technical functions of a remote and indicated that a user centered approach to designing the interface would be preferable. Christine Hayes discussed the functional requirements of a remote and user tendencies in using remotes. Christine Hayes indicated that an ideal remote would include an LCD screen, would not be too small in size, and is easy to use. Anna Washington 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

Ellen Morison: Hello. Yes, I made it. English from on. Drawing or Susan Mccoy: Yeah just testing. Ellen Morison: Yeah. Susan Mccoy: Mm? Dolores Adamo: Just Susan Mccoy: English. Dolores Adamo: kidding. So annoying. Susan Mccoy: Break is over. Ellen Morison: Ooh it works. Susan Mccoy: Whoo. Spicy. Ellen Morison: Spicy. Where are are all the other presentations? Dolores Adamo: I just put it in the in the shared folder so Ellen Morison: The Dolores Adamo: it should Ellen Morison: conceptual Dolores Adamo: be Ellen Morison: or Dolores Adamo: yeah I think so. Yeah, conceptual design. Ellen Morison: Ah. Dolores Adamo: What or whatever Ellen Morison: Because Dolores Adamo: does it Ellen Morison: I see only my own presentation Dolores Adamo: No no no, can you go back one? Ellen Morison: yeah. Dolores Adamo: Uh 'cause it has to be PowerPoint pre yeah Ellen Morison: This? Dolores Adamo: components design, that's it. Ellen Morison: I'll just put it Susan Mccoy: So, Ellen Morison: in there. Susan Mccoy: he's coming. Dolores Adamo: I did Ellen Morison: Or not. Dolores Adamo: get a bit more done than the Charity Cope: Okay. Dolores Adamo: last time, Susan Mccoy: Oh Dolores Adamo: 'cause Susan Mccoy: okay. Dolores Adamo: I knew that I didn't have time so I just copy and paste everything into Ellen Morison: Ah, Dolores Adamo: the Ellen Morison: I can't Susan Mccoy: Ah. Ellen Morison: cut and paste it into Susan Mccoy: She. Ellen Morison: the Susan Mccoy: You Ellen Morison: other Susan Mccoy: can Ellen Morison: folder Susan Mccoy: look Ellen Morison: but Susan Mccoy: at the final report, 'cause I have to record everything we are deciding and such, so Ellen Morison: Move to Susan Mccoy: I'm Ellen Morison: meeting Susan Mccoy: trying Ellen Morison: room. Susan Mccoy: to write it down between everything else. Ellen Morison: Yeah. Dolores Adamo: Sometimes I have these pop-ups or these sounds and there's nothing there, Susan Mccoy: Oh. Dolores Adamo: and Ellen Morison: Yeah Ellen Morison too, Dolores Adamo: also with I don't know how to use PowerPoint, so it takes Ellen Morison forever to get something done with Charity Cope: I Dolores Adamo: it. Charity Cope: I've got the same problem as well. Dolores Adamo: Yeah. Ellen Morison: Yeah. Susan Mccoy: Yeah. Here we go again. Welcome. Dolores Adamo: Thi Susan Mccoy: we have again three presentations and then we have to decide on what concepts the phone has to f the remote control has to support. So Dolores Adamo: Mm-hmm. Susan Mccoy: who wants go. Ellen Morison: Yes. Dolores Adamo: Who Susan Mccoy: Yes? Dolores Adamo: wants to start? Ellen Morison: Ellen Morison first or Susan Mccoy: Yeah Charity Cope: Oh. Susan Mccoy: sure. Charity Cope: No. Susan Mccoy: Doesn't matter. Charity Cope: Yeah. Ellen Morison: yeah. Charity Cope: No problem Ellen Morison: Alright. Did you open it already or Susan Mccoy: No. Ellen Morison: no. Ah. Ah. Yes. Ellen Morison: So welcome to the marketing presentation once again. Um this time about trendwatching. Uh well there has been inv investigation again, in the in the remote control market. Uh it shows a number of developments. Uh I will address them uh in a moment. Um fashion watch watchers uh have detected the trends for young public, because that's our public. Um well fruit and vegetables will be will be the most important theme for clothing, uh shoes and furniture. And the feel of the material is expected to be spongey. So um the developments I will address them oh yeah well this is the fruit and vegetables looks of fresh bright colours. So to give you an idea. Um well the developments? Uh development one. Uh well most important aspect for remote control happens to be a fancy look-and-feel. Instead of the current uh functional look-and-feel. Um well fancy stands for an original look-and-feel of the case and the interface. And the second most important aspect is that a remote control should be technological uh innovative. Um well it stands for the use of technical features that do not exist in current remote controls. I think we pretty much covered that with our screen and um Dolores Adamo: Sound. Ellen Morison: and speech recognition, so Dolores Adamo: Yeah Ellen Morison: I Dolores Adamo: yeah Ellen Morison: don't Dolores Adamo: uh uh. Ellen Morison: expect that to be a problem. And the third development um is that the remote control should be easy to use. Um Well the first aspect uh was twice as important as the second aspect,w which was twice as important as the third aspect. So Susan Mccoy: Mm-hmm. Ellen Morison: um that kind of gets you this ratios. So fancy look-and-feel uh is the most important uh point of attention. Uh so the fruits and vegetables in combination with the spongey material. Um well technolog technological innovation, we've covered that pretty much I guess. Um and easy to use, I don't think that will be problem. So my point of attention is especially this part. That this Dolores Adamo: Yeah. Ellen Morison: will be a crux. So that was the marketing uh presentation. I had only one document left. Dolores Adamo: And shall I go first? Charity Cope: Yeah. Dolores Adamo: So Charity Cope: No. I Dolores Adamo: I Charity Cope: I don't mi I don't mind. That's Ellen Morison: So kind of this Dolores Adamo: Yeah? Charity Cope: Do you want to go first? Okay. Susan Mccoy: Yeah yeah sure. Ellen Morison: So Susan Mccoy: No. Ellen Morison: a k Charity Cope: Yeah. Ellen Morison: a small example. Kind of this this look. Uh nothing about the buttons but just Charity Cope: Yeah. Ellen Morison: sponge kind of thing, and and some fruit and colours I dunno. Just made a quick design. Susan Mccoy: Cool. Charity Cope: It's better Ellen Morison: Alright. Charity Cope: than than Dolores Adamo: Alright. Charity Cope: my uh drawing. Susan Mccoy: Yeah you're just the user interface hmm? Charity Cope: Yeah Dolores Adamo: Uh Charity Cope: okay but I Dolores Adamo: components. Charity Cope: have to design the Susan Mccoy: Yeah layout. Charity Cope: Yeah. Dolores Adamo: Oh no. Susan Mccoy: Yeah okay. Ellen Morison: Yeah. It's okay. Susan Mccoy: You probably opened it. Dolores Adamo: Yeah true. Um Susan Mccoy: F_ five. Ellen Morison: F_ five. Dolores Adamo: Alright. So I'm dealing with the components design. Um let's see. I uh used some design examples we had uh from similar products. And I used uh possibilities from our manufacturing department about current components which will have to be implemented in the design. That's why I had to, wanted to go first. Well they gave Ellen Morison um an idea about what people want. We're f mainly focusing on this group, but I want to make the distinction clear. Uh I could not drag the pictures into the the slides so s so I don't have examples of how it looks like. But it comes down to what you uh what you think we should do with the spongey and the fruity looking uh type. If you, the young dynamic people want soft primary colours uh, which looks like fruits you know, you can and shapes that are curved and not uh solid straight lines anymore. So this basically um yeah goes on to what you were mentioning earlier. There is a lot of um factors involved in choosing the components. There's a lot of options that we have to discuss. Uh for example the energy source. we have four types. The basic battery. Uh we have a hand dynamo, which we yeah we Dutch refer Susan Mccoy: Yeah. Dolores Adamo: to it as the kneipgatt. Uh the kinetic provision of energy which means if you move the thing, if you shake it. Which will be fun for toddlers right, if they wanna Ellen Morison: Yeah. Dolores Adamo: use the And uh of course solar cells. But I dunno how we would use that into the Ellen Morison: Wi Dolores Adamo: design of the actual product. So Ellen Morison: an indoors. Dolores Adamo: uh Ellen Morison: Oh. Susan Mccoy: Yeah Dolores Adamo: my Susan Mccoy: okay. Dolores Adamo: yeah Susan Mccoy: Calculator's Dolores Adamo: also Susan Mccoy: can do it. Dolores Adamo: also in you know countries where there's n isn't much light like in Scandinavia, they wouldn't be y able to use it half Charity Cope: Yeah. Dolores Adamo: of the year you know. So Ellen Morison: Yeah. Dolores Adamo: that's Susan Mccoy: Mm-hmm. Dolores Adamo: not cool either. So um for the uh a case, there's uh the traditional uncurved flat hard case. Single curved, which means that it has uh curves in one dimension. Or the double curved. Um I wasn't able to finish my uh personal preferences sheet, but well you know that we will have to go for the double curved 'cause it's daring and different from what we have now. Ellen Morison: Yeah. Dolores Adamo: Uh the case materials. Well we have all kinds of hard uh materials like the the hard plastic, the wood and the titanium. I would definitely go for rubber 'cause it fits most in what people wanna see nowadays. Ellen Morison: Yeah. Dolores Adamo: Um poo, this is a lot of text. I wasn't able to organise this yet. We have yeah several uh interface designs. Uh we can use a scroll buttons for the menus, but we already kind of decided to go for Charity Cope: Yeah. Dolores Adamo: the Charity Cope: Pushbuttons. Dolores Adamo: f for the pushbuttons, Charity Cope: Yeah. Dolores Adamo: for the the arrow buttons. So that's Ellen Morison: Yeah. Dolores Adamo: not really interesting. Electronics? Yeah, maybe we wanna decide on what electronics to use the advanced chip I think is easiest to implement uh for the production, 'cause they they can print it better. Um Yeah. I think this is about it. Yeah I was working on some per personal preferences. I first uh chose for the battery, 'cause yeah I'm traditional and that's the most obvious, easiest choice to go to. But I really think that we should maybe uh think about the kinetic energy, where Charity Cope: Yeah. Dolores Adamo: you have to move the thing to Charity Cope: Yeah. Susan Mccoy: Yeah. Dolores Adamo: be able to Charity Cope: As Ellen Morison: Yeah. Dolores Adamo: use Charity Cope: an optional Dolores Adamo: it. Charity Cope: uh feature. Or combine uh both with with one uh Ellen Morison: I Susan Mccoy: Uh Ellen Morison: guess Susan Mccoy: I Ellen Morison: we Dolores Adamo: Yeah Ellen Morison: can Susan Mccoy: think Ellen Morison: only Dolores Adamo: maybe Susan Mccoy: you Ellen Morison: choose Dolores Adamo: we Susan Mccoy: can only Ellen Morison: one. Susan Mccoy: fit one uh source of energy Charity Cope: Okay. Susan Mccoy: on the Dolores Adamo: I can imagine that the kinetic uh type energy source would be more expensive to make. But it is more longlasting, that the people don't have to ever buy batteries again. Ellen Morison: Yeah. Susan Mccoy: Yeah Ellen Morison: And it's more fun. Susan Mccoy: I Dolores Adamo: And Susan Mccoy: didn't Dolores Adamo: it's also Susan Mccoy: receive Dolores Adamo: more fun Susan Mccoy: any Dolores Adamo: yeah. Susan Mccoy: info Dolores Adamo: I always chuck Susan Mccoy: uh. Dolores Adamo: my uh remote control Ellen Morison: Yeah, Dolores Adamo: around, so Ellen Morison: just Susan Mccoy: Yeah. Ellen Morison: playing with it and especially when the material's rubber. It can Susan Mccoy: S Ellen Morison: be done, I mean, Susan Mccoy: yeah it's Ellen Morison: you can't Susan Mccoy: safe. Ellen Morison: harm Dolores Adamo: Yeah Ellen Morison: it, Dolores Adamo: y Ellen Morison: so it's a Charity Cope: And Ellen Morison: perfect Charity Cope: throw Dolores Adamo: exactly. Charity Cope: it. Ellen Morison: combination Dolores Adamo: You Ellen Morison: I Dolores Adamo: don't Ellen Morison: guess. Dolores Adamo: have to be scared about bouncing it off the g floor and breaking it or whatever. Ellen Morison: Yeah. Charity Cope: Okay. Dolores Adamo: So that's the end of it. Charity Cope: Yeah. Ellen Morison: So Dolores Adamo: Uh Susan Mccoy: 'Kay next. Dolores Adamo: go ahead. Ellen Morison: So double curved is like this, this, this, or Dolores Adamo: No it means curved in two dimensions. So uh w single curved? Uh let's say would be a b square box, Ellen Morison: Mm. Dolores Adamo: but then with curves on one dimension. Ellen Morison: Yeah. Dolores Adamo: And double curved would means that it would have curves Ellen Morison: Also in Dolores Adamo: curves Ellen Morison: in Susan Mccoy: Uh Ellen Morison: height? Dolores Adamo: in every direction. Ellen Morison: Yeah Dolores Adamo: Like Ellen Morison: okay. Dolores Adamo: three Susan Mccoy: Okay. Dolores Adamo: D_. Charity Cope: Yeah. Susan Mccoy: Can we uh Charity Cope: One Dolores Adamo: Yeah. Charity Cope: one uh very important thing I was uh yeah thinking about is the speech uh option. We were going to use that. Susan Mccoy: Yeah. Charity Cope: Yeah. So um Yeah um yeah that's one thing uh which I'm not sure uh of how to implement it uh into the Dolores Adamo: Design? Susan Mccoy: Well Charity Cope: remote control. Susan Mccoy: the visual representation is not Charity Cope: No okay Susan Mccoy: there with Charity Cope: but Susan Mccoy: speech Charity Cope: it Susan Mccoy: but Charity Cope: has Susan Mccoy: you Charity Cope: to be Susan Mccoy: can Charity Cope: combined with with the menu uh for functions and Susan Mccoy: Yeah. Charity Cope: So Susan Mccoy: Just Charity Cope: okay. Susan Mccoy: yeah. I think you can just uh match the speech commands with the functions Charity Cope: Yeah. Susan Mccoy: that are already present. Charity Cope: Okay. Susan Mccoy: So Ellen Morison: Yeah with Susan Mccoy: I don't Ellen Morison: the programme. Susan Mccoy: think you have to design anything Charity Cope: But do uh j do Susan Mccoy: else Charity Cope: we Susan Mccoy: for that. Charity Cope: uh do the speech just for the basic options, for the simple buttons? Susan Mccoy: Both. Charity Cope: For for everything, also for Susan Mccoy: Yeah. Charity Cope: the advanced options? Okay. Uh we have this very uh basic uh trendy design. Everybody says it so that's what's uh yeah um Yeah in the in the last uh meeting we uh we were yeah putting the the simple and the advanced options separated. That's yeah obvious. Um yeah. Pressing the the menu option uh will disable uh all other options on your uh remote control. And only the the L_C_D_ panel will uh light up and then you can only uh change the yeah Ellen Morison: And Charity Cope: the options. Ellen Morison: and the and the buttons that you need to Charity Cope: Yeah. Ellen Morison: control Susan Mccoy: Yeah. Ellen Morison: it, I guess. Charity Cope: Um yeah design has to be very attractive but that's your your op your yeah. you have to uh delete this but this Susan Mccoy: Yeah. Charity Cope: is the the the simple uh layout. Uh display on the upper side with the the menu button and maybe a some sort of cancel button or save button. Susan Mccoy: That Charity Cope: I'm Susan Mccoy: would be the back. Charity Cope: The Ellen Morison: Yeah. Charity Cope: back. Susan Mccoy: Back and okay. Ellen Morison: Back Charity Cope: Back Ellen Morison: and okay. Charity Cope: and okay yeah. Uh Susan Mccoy: You did read the minutes I wrote? Charity Cope: What? Susan Mccoy: You did read the minutes I wrote? Charity Cope: A little Dolores Adamo: I Charity Cope: bit I think but not not Susan Mccoy: Oh okay Charity Cope: everything w Susan Mccoy: 'cause I pretty much summed up all the buttons there Charity Cope: Okay. Susan Mccoy: were. So Charity Cope: Oh I uh didn't read that. Susan Mccoy: I hate Charity Cope: But Susan Mccoy: doing work for nothing. Charity Cope: But this is the the basic uh design uh for the for the m yeah for the buttons. Um I wanted to to categorise everything. Uh with a speech display uh yeah, sound, everything you you noted in your uh minutes. Um every pushbutton has uh has its own uh LED light. So Susan Mccoy: Mm-hmm. Charity Cope: you can uh yeah change uh m make it more trendy for for younger people. And uh if there are older people they wanted more uh yeah more uh luxurous so that's an a also an option. Um that was it. Susan Mccoy: That was it? Charity Cope: Yeah. Susan Mccoy: Okay. Uh again. Ugh. Susan Mccoy: Okay so what we have to decide is what kind of components do we use? Uh energy source, chip type, case type. And user interface. But I didn't see a clear distinction between these so I think what we have is okay. So we only, we already decided that kinetic would be the choice for energy. Ellen Morison: No. Susan Mccoy: Uh the case would be doubly curved. Ellen Morison: Rubber Susan Mccoy: So Dolores Adamo: And Ellen Morison: material. Dolores Adamo: rubber. Rubber material. Susan Mccoy: Rubber material. And that's the only thing we have left. Dolores Adamo: Yeah we need the the chip on print to be able to support the the screen and uh Susan Mccoy: Oh okay. Dolores Adamo: and f Susan Mccoy: No it's easy. Dolores Adamo: audio function. Ellen Morison: So that's uh is that is that the advanced chip? Dolores Adamo: Yeah. Susan Mccoy: Advanced Dolores Adamo: Yeah. Susan Mccoy: chip. Ellen Morison: Wow. Susan Mccoy: Okay. Dolores Adamo: you would have a simple chip, just for pressing Ellen Morison: Yeah. Dolores Adamo: buttons. But we need more. Ellen Morison: Alright. Kinetic. Dolores Adamo: I'm just thinking, Susan Mccoy: Too. Ellen Morison: Double Dolores Adamo: this Ellen Morison: curved. Dolores Adamo: is not my department, but I I'm not sure what this is gonna cost, to be able to Susan Mccoy: Uh Dolores Adamo: m Susan Mccoy: I didn't get any info on this. So Dolores Adamo: So 'cause we need to sell it for twenty five Euro a piece. Susan Mccoy: Yeah. Dolores Adamo: That's gonna be difficult huh? Charity Cope: Yeah. Ellen Morison: The cost of making it should be twelve and a half? Susan Mccoy: I have total Dolores Adamo: Yeah. Susan Mccoy: here. Dolores Adamo: Yeah Susan Mccoy: Yeah Dolores Adamo: yeah Susan Mccoy: I Dolores Adamo: yeah. Susan Mccoy: don't know. I didn't get any information about that Charity Cope: We're Susan Mccoy: so Charity Cope: going to produce it in uh China so it's no problem. Susan Mccoy: Yeah. Dolores Adamo: Child labour man, we love it. Ellen Morison: Yeah, so it's Susan Mccoy: Who doesn't. Ellen Morison: cheap. Susan Mccoy: Uh let's see. Is there a new thing? Ellen Morison: Um well the interface type supplements. Susan Mccoy: Yeah the interface, maybe can Charity Cope: Uh it's it's quite Susan Mccoy: Ooh. Charity Cope: difficult because we we haven't got all the options uh Susan Mccoy: No. Uh Charity Cope: yeah. Susan Mccoy: do you have a picture of doubly curved case? And could you put that in the group folder? Dolores Adamo: Um Susan Mccoy: Of the project folder. Dolores Adamo: let Ellen Morison see. Wait a sec. Ellen Morison: If you go to your homepage or something, you should Dolores Adamo: Yeah I'm going there now. Ellen Morison: get your own information. Dolores Adamo: Inspiration. Ellen Morison: I got my fresh and fyoo fruity uh picture uh also uh Dolores Adamo: Well Ellen Morison: over there, Susan Mccoy: Ah Ellen Morison: so Susan Mccoy: you didn't draw it yourself. Ellen Morison: No. Susan Mccoy: Ah. Ellen Morison: Too less time. Dolores Adamo: Um Ellen Morison: Yeah, Dolores Adamo: yeah maybe Ellen Morison: also the Dolores Adamo: it's Ellen Morison: menu. Yeah Charity Cope: Yeah. Ellen Morison: that that Charity Cope: This Ellen Morison: w Charity Cope: is the the menu I was Ellen Morison: Yeah. Charity Cope: uh looking uh Ellen Morison: Yeah I Dolores Adamo: Maybe Ellen Morison: was thinking Dolores Adamo: it's easier Ellen Morison: of that Charity Cope: at. Ellen Morison: also, with with a Charity Cope: Yeah. Ellen Morison: with a Susan Mccoy: Arrow. Ellen Morison: uh arrow. Charity Cope: Arrow yeah. Ellen Morison: So Susan Mccoy: Yeah. Ellen Morison: that indicates that there's an menu under that menu. Dolores Adamo: Yeah. Yeah perfect. Ellen Morison: So Charity Cope: Yeah. Dolores Adamo: Maybe Susan Mccoy: 'S Dolores Adamo: it's easier Susan Mccoy: the target Dolores Adamo: if you guys Susan Mccoy: group. Dolores Adamo: come Charity Cope: S Dolores Adamo: over Charity Cope: yeah. Dolores Adamo: here. S Ellen Morison: Oh Susan Mccoy: Yeah Ellen Morison: yeah. Dolores Adamo: see Susan Mccoy: sure. Dolores Adamo: this is the the the standard traditional type, where the form uh yeah serves the function, you know. It's like really basic. But this m is more appealing to old people and we don't Susan Mccoy: Yeah. Ellen Morison: Yeah. Dolores Adamo: want that. This is what we're looking for. And th that means curved in both dire dire uh dimensions. Susan Mccoy: Oh okay. Dolores Adamo: Not only Susan Mccoy: I Dolores Adamo: like Susan Mccoy: see. Dolores Adamo: this but Susan Mccoy: Yeah also like Dolores Adamo: it has Susan Mccoy: this. Dolores Adamo: to Susan Mccoy: So Dolores Adamo: be Susan Mccoy: you can hold it. Dolores Adamo: exactly. It has to be kind of instead of the PlayStation, the module. It has to be like the the Game Cube, you know, where Charity Cope: Yeah. Dolores Adamo: your thumbs would be laying in the instrument and it has to Charity Cope: But Dolores Adamo: be Charity Cope: it Dolores Adamo: nice Charity Cope: has also Dolores Adamo: to hold. Charity Cope: to it Dolores Adamo: And Charity Cope: it has also to be uh luxurous uh for for yeah rich people. Th Dolores Adamo: It ha Charity Cope: this looks a little bit like like for Susan Mccoy: The Charity Cope: only Susan Mccoy: children's Charity Cope: for children. Susan Mccoy: story. Yeah I've Dolores Adamo: Yeah Susan Mccoy: got Dolores Adamo: but Susan Mccoy: it. Dolores Adamo: that's Charity Cope: So Dolores Adamo: that's the Susan Mccoy: Distinction. Dolores Adamo: the problem Susan Mccoy: Yeah. Dolores Adamo: uh yeah the dilemma actually, 'cause we wanna appeal to the to the young public with fancy with flashy colours, and with a lot of shape. And Yeah, Charity Cope: Yeah. Dolores Adamo: and the and Charity Cope: The Dolores Adamo: the rubber, Charity Cope: colour Dolores Adamo: it it will look cheap always, Charity Cope: Yeah. Okay Dolores Adamo: you know, Charity Cope: but Dolores Adamo: with the Charity Cope: the the colours, you you can make it uh make the colours with LEDs uh beneath the the buttons. If you Susan Mccoy: Mm-hmm. Charity Cope: press a button and you can disable the the colour LEDs for for people that don't like it. Ellen Morison: Mm. Dolores Adamo: There is mobile phones, in which you can change the colour also of the Charity Cope: Yeah. Dolores Adamo: lights. Maybe we should consider this function. Susan Mccoy: Mm-hmm. Dolores Adamo: To customise it and so I mean kids can make it look more flashy with different kinds of colours Charity Cope: Yeah. Dolores Adamo: and people who want something, you know, Susan Mccoy: Different. Dolores Adamo: different, or more uh design, Susan Mccoy: Mm-hmm. Dolores Adamo: they can go for one colour like uh for example this uh photo Susan Mccoy: Camera. Dolores Adamo: th camera. Ellen Morison: Yeah. Cool. S underwater Susan Mccoy: Yeah Ellen Morison: uh Susan Mccoy: submarine. Ellen Morison: yeah. Dolores Adamo: Personally I think it's really ugly. Charity Cope: Yeah. Dolores Adamo: Just Susan Mccoy: Well Dolores Adamo: give Ellen Morison the thing that it's inside there Ellen Morison: Yeah. Dolores Adamo: maybe Charity Cope: Very Susan Mccoy: Yeah Dolores Adamo: I'm Charity Cope: cheap Susan Mccoy: but Dolores Adamo: too old Susan Mccoy: this Charity Cope: uh Dolores Adamo: for Charity Cope: cheap Dolores Adamo: this Susan Mccoy: this Dolores Adamo: stuff. Charity Cope: look. Susan Mccoy: the is for the. Dolores Adamo: Yeah. Ellen Morison: Yeah. Susan Mccoy: Okay. Dolores Adamo: So Susan Mccoy: Uh Dolores Adamo: those I think are all my oh. Susan Mccoy: Ah yeah bright colours. Ellen Morison: Yeah. Also a Dolores Adamo: And Ellen Morison: kind Dolores Adamo: this Ellen Morison: of Dolores Adamo: is, Ellen Morison: rubber uh Dolores Adamo: this is with the curved that I mean. Ellen Morison: Yeah. Susan Mccoy: That's singly curved. Dolores Adamo: Yeah. Susan Mccoy: Okay. Dolores Adamo: Yeah? Ellen Morison: That should be nice. Susan Mccoy: Well we could make a compromise between that. But I don't know if it's worth the effort. Dolores Adamo: A compromise between what? Susan Mccoy: Uh instead of doubly curved we take a single curved. So to Ellen Morison: So Susan Mccoy: appeal Ellen Morison: s Susan Mccoy: a Dolores Adamo: This, Susan Mccoy: little more to the Dolores Adamo: this Susan Mccoy: all Dolores Adamo: would Susan Mccoy: the public. Dolores Adamo: be uh single curved uh? Susan Mccoy: Mm-hmm. Ellen Morison: Yeah there's only in in this dimension. Susan Mccoy: Yeah. Ellen Morison: Like this. Dolores Adamo: Yeah. Ellen Morison: So curvy or not. Susan Mccoy: Also. Dolores Adamo: Yeah. Ellen Morison: Yeah Dolores Adamo: Exactly. Exactly. Ellen Morison: so we keep it singly c single curved then? Susan Mccoy: Yeah that would be an option. I don't know what you think. Ellen Morison: Yeah. Dolores Adamo: I think the I mean our aim is to make something different right? To Ellen Morison: Yeah. Dolores Adamo: make something new. Susan Mccoy: Mm-hmm. Dolores Adamo: I would go for the double curved. Susan Mccoy: Okay. Dolores Adamo: And Susan Mccoy: Yeah Dolores Adamo: I I'm Susan Mccoy: I'd agree. Dolores Adamo: I'm thinking uh you know uh a drawing palette, Susan Mccoy: Mm-hmm. Dolores Adamo: where you have the shape for your thumb. So it kind of holds nicely, something Charity Cope: Yeah Ellen Morison: Yeah. Dolores Adamo: like that. Charity Cope: but if Dolores Adamo: Well Charity Cope: you Dolores Adamo: this Charity Cope: if Dolores Adamo: is Charity Cope: you make Dolores Adamo: really Charity Cope: it Dolores Adamo: your Charity Cope: more Dolores Adamo: decision Charity Cope: curved Dolores Adamo: but Charity Cope: we we can make more and more options for buttons. If you have uh it have it in your hand, you you you are not only um yeah you don't need one dimension but you can use other dimensions for pressing the the buttons. Dolores Adamo: Yeah. As well. You can make a trigger button Charity Cope: Yeah. Dolores Adamo: or something like that. Charity Cope: Something to shoot at your television Dolores Adamo: Yeah or that that is the confirmation button or Susan Mccoy: Mm-hmm. Dolores Adamo: something, Charity Cope: Yeah. Dolores Adamo: that you scroll with your thumb, with the arrows, Charity Cope: That's Dolores Adamo: and then confirm. Charity Cope: yeah. Susan Mccoy: Mm-hmm. Dolores Adamo: That would be a nice way to use it but I mean, yeah, I'm thinking big already, and we need something Susan Mccoy: Different. Dolores Adamo: that well that Susan Mccoy: Stands Dolores Adamo: that you Susan Mccoy: out. Dolores Adamo: can able to use in Susan Mccoy: Or Dolores Adamo: one hand I think. Susan Mccoy: Oh yeah a one hand uh Dolores Adamo: Yeah. Susan Mccoy: solution. Ellen Morison: So from top view it looks kinda like this. But from the side you you can have it also in a kind of shape. Maybe because Susan Mccoy: can Ellen Morison: the Susan Mccoy: turn it Ellen Morison: the screen Susan Mccoy: maybe. Ellen Morison: is on top you Susan Mccoy: To switch Ellen Morison: can have Susan Mccoy: from buttons to interface hmm. If you turn it a little. Ellen Morison: Maybe you can c have this kind of shape. A little upwards. So that the screen is more Susan Mccoy: Oh yeah. Least you Ellen Morison: towards Susan Mccoy: can easily Ellen Morison: yourself, Susan Mccoy: see it. Ellen Morison: so you can easily see your screen. Dolores Adamo: How Ellen Morison: Well well Dolores Adamo: about Ellen Morison: you have it in your hand so it's a kind of an angle from your eyes to the screen. So this this Dolores Adamo: Mm-hmm. Ellen Morison: is so the screen is positioned over here. Oh. Something like that. And the buttons are more, well it's very thick now but Dolores Adamo: Yeah I understand what you mean. Ellen Morison: That's uh Dolores Adamo: How Ellen Morison: that's Dolores Adamo: about we do a uh a pop-up screen, like the laptop. Susan Mccoy: If Dolores Adamo: So Susan Mccoy: you can Dolores Adamo: that Susan Mccoy: uh flip. Dolores Adamo: the only the simple functions will be visible at first. Ellen Morison: Yeah? That Dolores Adamo: And Ellen Morison: that Dolores Adamo: then Ellen Morison: you can Dolores Adamo: if Ellen Morison: press Dolores Adamo: you want Ellen Morison: it and then it comes up? Or Dolores Adamo: Yeah. Something like that. Susan Mccoy: Uh so you have a the the side view. Ellen Morison: But then the side view can be straight. If you have a pop-up screen. But I dunno if that's too expensive. Susan Mccoy: So Ellen Morison: I Dolores Adamo: Yeah. Susan Mccoy: and Ellen Morison: mean Susan Mccoy: you Ellen Morison: maybe Susan Mccoy: want Ellen Morison: it's Susan Mccoy: to Ellen Morison: too much Susan Mccoy: be able to make this. Dolores Adamo: No uh like I would draw it like this. Let's say this is the side view. That you have a a screen that will come up here, and can go down that way. If you know what I mean. Charity Cope: Okay. Dolores Adamo: So that it would come Charity Cope: Yeah. Dolores Adamo: up like that. Susan Mccoy: Okay so the buttons are on top here, and you flip it over that Dolores Adamo: Yeah Susan Mccoy: way. Dolores Adamo: or preferably even keep the simple buttons here, Susan Mccoy: Yeah. Dolores Adamo: and then under the screen even you Ellen Morison: Oh Susan Mccoy: Oh Dolores Adamo: could put Ellen Morison: the advanced Dolores Adamo: more Susan Mccoy: yeah. Yeah Dolores Adamo: more Ellen Morison: buttons. Susan Mccoy: yeah Dolores Adamo: advanced Susan Mccoy: yeah Dolores Adamo: buttons. Ellen Morison: Right. Susan Mccoy: yeah. Right. Charity Cope: That's Susan Mccoy: Yeah that's good Ellen Morison: Yeah. Susan Mccoy: idea. Charity Cope: the the more advanced options were uh for the for the menu. Susan Mccoy: Yeah. Ellen Morison: Yeah. Charity Cope: But Dolores Adamo: F Charity Cope: you Dolores Adamo: for Charity Cope: you Dolores Adamo: the Charity Cope: want Dolores Adamo: L_C_D_ menu Charity Cope: okay. Dolores Adamo: right? Ellen Morison: Yeah. Charity Cope: You just Dolores Adamo: So Charity Cope: want to hide them all? The Ellen Morison: Yeah. Susan Mccoy: No not all Dolores Adamo: w Charity Cope: oh. Susan Mccoy: because Dolores Adamo: w Susan Mccoy: you need most of them, the arrow buttons. But you can hide the okay and the back Charity Cope: Yeah Susan Mccoy: uh Charity Cope: yeah Susan Mccoy: button. Charity Cope: yeah. Susan Mccoy: And the menu button also because when you flip it open Ellen Morison: Yeah. Susan Mccoy: and you can maybe even drop the menu button because maybe if you flip it open it will auto activate Dolores Adamo: Oh Susan Mccoy: amauto uh uh automatically. Dolores Adamo: Activate and th the yeah. Ellen Morison: So okay b but you have t you need some button to flip this Susan Mccoy: Why? You Ellen Morison: open. Susan Mccoy: could Dolores Adamo: True. Susan Mccoy: just Dolores Adamo: True. Susan Mccoy: make it mechanical. Dolores Adamo: But you can make a, yeah, you can make a trigger here. You Ellen Morison: Yeah. Dolores Adamo: know a simple uh Ellen Morison: Yeah and Dolores Adamo: with Ellen Morison: it Dolores Adamo: a Ellen Morison: says menu and it flips open and Charity Cope: That's Ellen Morison: then you have the buttons to control Charity Cope: but it's it's Ellen Morison: it, in combination Charity Cope: not Dolores Adamo: Yeah. Ellen Morison: with your Charity Cope: it's not very uh Dolores Adamo: Exactly. Charity Cope: very strong uh yeah if you drop it one time. Ellen Morison: True. It uh c it can Dolores Adamo: Well Ellen Morison: go open. Dolores Adamo: yeah the the idea Susan Mccoy: If you Dolores Adamo: of Susan Mccoy: cover Dolores Adamo: it was, Susan Mccoy: it with rubber. Dolores Adamo: is that because you close it, you cover the L_C_D_ screen and it won't be vulnerable to scratches or whatever. Ellen Morison: An adv Charity Cope: Okay. Ellen Morison: an Susan Mccoy: Mm. Ellen Morison: adv and it will be Dolores Adamo: And Ellen Morison: covered in some kind of uh thin rubber layer or something Dolores Adamo: Exactly. Susan Mccoy: Yeah. Ellen Morison: like that. Susan Mccoy: So Dolores Adamo: Exactly. Susan Mccoy: it can bounce. Dolores Adamo: We just have to Ellen Morison: Yeah, Dolores Adamo: make sure that the closing Ellen Morison: uh Dolores Adamo: mechanism Ellen Morison: It's Dolores Adamo: won't Ellen Morison: very Dolores Adamo: break. Ellen Morison: no it's Dolores Adamo: Th Ellen Morison: very Dolores Adamo: it's Ellen Morison: strong. Dolores Adamo: very solid Susan Mccoy: Yeah Ellen Morison: Yeah. Dolores Adamo: yeah. Susan Mccoy: okay so that that may work. Dolores Adamo: That actually will offer some extra Susan Mccoy: Okay Dolores Adamo: protection Susan Mccoy: but then we still Dolores Adamo: for Susan Mccoy: have Dolores Adamo: the Susan Mccoy: the the the thing of the the the shape. Dolores Adamo: Yeah. Susan Mccoy: Yeah. Dolores Adamo: Yeah Susan Mccoy: What Dolores Adamo: I was Susan Mccoy: kind of Dolores Adamo: thinking, if if you have your hand, it this is your th Susan Mccoy: Harder. Ellen Morison: Yeah the lower part doesn't work I guess, so maybe you should try it over there. Dolores Adamo: Okay. If this is your thumb, and this is your hand like that. With your uh wrist. That you, that it would be kind of shape like this, you know. So it's easier to hold in your hand, to Charity Cope: But Dolores Adamo: y Charity Cope: when Ellen Morison: Yeah. Charity Cope: you are Dolores Adamo: f Charity Cope: left-handed, that's that's a problem. Dolores Adamo: Uh yeah. Yeah of course. Yeah Susan Mccoy: Maybe Dolores Adamo: then w Susan Mccoy: can design Dolores Adamo: then you would Susan Mccoy: two versions. Dolores Adamo: have to Ellen Morison: Yeah. Charity Cope: But that's Dolores Adamo: to make Charity Cope: that's Dolores Adamo: it like Charity Cope: very expensive Dolores Adamo: this. Like Charity Cope: uh Dolores Adamo: like you drew here. Ellen Morison: Yeah. Dolores Adamo: And maybe th then make this thicker also than the centre. Give it Susan Mccoy: Mm-hmm. And Dolores Adamo: I would Susan Mccoy: ergonomical Dolores Adamo: give it a female Susan Mccoy: shape. Dolores Adamo: shape but uh Charity Cope: Yeah. Dolores Adamo: yeah. Anyway. Susan Mccoy: Yeah. Ellen Morison: Yeah. Susan Mccoy: The female shape yeah. With two Ellen Morison: Yeah. Dolores Adamo: Obviously. Charity Cope: We we could make some some Dolores Adamo: Make Charity Cope: rubber Dolores Adamo: it more appealing Charity Cope: uh Susan Mccoy: uh Dolores Adamo: to Charity Cope: some Dolores Adamo: guys. Charity Cope: rubber uh yeah Dolores Adamo: I mean Charity Cope: mouse, with which you can change Susan Mccoy: Oh Charity Cope: uh Susan Mccoy: yeah. Some Charity Cope: and Susan Mccoy: uh Charity Cope: so if you Susan Mccoy: k esk uh yeah. Charity Cope: Yeah. Ellen Morison: Yeah but but that's optional for later I guess. I Charity Cope: Okay. Susan Mccoy: Yeah. Ellen Morison: mean, we have to Dolores Adamo: Yeah Ellen Morison: make Dolores Adamo: but we have hardware inside, which is so it has to have some sort of Charity Cope: Some Dolores Adamo: basic shape. Charity Cope: yeah. Ellen Morison: Yeah Susan Mccoy: Yeah Ellen Morison: we we better Susan Mccoy: yeah. Dolores Adamo: And Ellen Morison: so Dolores Adamo: also Ellen Morison: choose Dolores Adamo: the screen, Ellen Morison: one Dolores Adamo: you cannot mould it. You Charity Cope: No Dolores Adamo: know Charity Cope: no no Dolores Adamo: kind Ellen Morison: Yeah Charity Cope: no. Dolores Adamo: of thing. Ellen Morison: so okay we should better choose one sh one shape. Charity Cope: Okay. Dolores Adamo: Yeah. Ellen Morison: But that's the kind of the idea, so it lays good in the hand, and then Dolores Adamo: And then Ellen Morison: on Dolores Adamo: you can Ellen Morison: on the side with with your Dolores Adamo: You Ellen Morison: thumb, Dolores Adamo: can place the screen Ellen Morison: you Dolores Adamo: here, Ellen Morison: you can Dolores Adamo: which can Ellen Morison: you can Dolores Adamo: come. Ellen Morison: use, yeah, you Susan Mccoy: Yeah. Ellen Morison: can use the button option Dolores Adamo: And but then I w I Susan Mccoy: spongey? Dolores Adamo: would Ellen Morison: Spongey. Dolores Adamo: I would do the arrows here, kind of thing. Ellen Morison: Spongey can be reached Dolores Adamo: Those buttons? Ellen Morison: by means of Dolores Adamo: And the simple buttons here, so Ellen Morison: Yeah. Dolores Adamo: that Susan Mccoy: Yeah. Charity Cope: Yeah. Ellen Morison: And and the and the control thngs in the middle? The the Dolores Adamo: I Uh Ellen Morison: the Dolores Adamo: y Ellen Morison: arrows? Dolores Adamo: eah Charity Cope: No Dolores Adamo: that's Charity Cope: the Dolores Adamo: what Charity Cope: arrow's Dolores Adamo: I mean. The Charity Cope: over Susan Mccoy: Yeah. Dolores Adamo: arrows Charity Cope: here. Dolores Adamo: over here, Ellen Morison: Yeah Charity Cope: Yeah. Dolores Adamo: and Ellen Morison: and then Dolores Adamo: here the Ellen Morison: numbers. Susan Mccoy: Buttons. Dolores Adamo: s simple uh Susan Mccoy: Okay. Ellen Morison: Yeah. Alright. Susan Mccoy: I think that uh Ellen Morison: Uh Susan Mccoy: it's a nice design. Ellen Morison: pretty nice design. Yeah. Susan Mccoy: It's cool. Ellen Morison: Yeah it looks uh pretty fancy. Susan Mccoy: Yeah. Dolores Adamo: or do we wanna make its shape look like a banana or something? I dunno. Susan Mccoy: Yeah that's Ellen Morison: Uh bananas wierd shape and other fruits also, so Dolores Adamo: Yeah. Ellen Morison: it's better to have um some sort of basic print and then a fruit print in some primary uh colours. Dolores Adamo: Yeah Ellen Morison: I Dolores Adamo: we Ellen Morison: don't Dolores Adamo: could Ellen Morison: know Dolores Adamo: make Ellen Morison: what what colours should the basic print be like? Like some soft Susan Mccoy: Orange or Ellen Morison: green Susan Mccoy: something. Ellen Morison: or something? Or Charity Cope: Or blue? Ellen Morison: and then Charity Cope: Dark blue or Ellen Morison: Oh yeah yeah, dark blue and then Dolores Adamo: We should use Ellen Morison: and then very bright, uh a yellow Charity Cope: Yeah. Ellen Morison: banana, an orange, uh a green apple, stuff like that, with very uh bright tones I guess. Susan Mccoy: Mm. Dolores Adamo: Yeah Ellen Morison: So Dolores Adamo: w Ellen Morison: you have Dolores Adamo: we Ellen Morison: something Dolores Adamo: need very Ellen Morison: like Dolores Adamo: primary colours, like Susan Mccoy: Yeah. Ellen Morison: Yeah. Dolores Adamo: bright red, bright yellow. Charity Cope: Yeah but the primary colours w we can uh create with the with the LEDs on the on the remote Dolores Adamo: Yeah. Charity Cope: control. Dolores Adamo: Yeah okay Charity Cope: If Dolores Adamo: yeah. Charity Cope: you we uh yeah. If you make it uh just a yeah bl give it a blue colour, then it's just a neutral colour, also for the for the more uh yeah for the people. Ellen Morison: Mm. That Susan Mccoy: Huh Ellen Morison: doesn't Susan Mccoy: cool. Ellen Morison: really work. To draw, Susan Mccoy: No it's. Ellen Morison: I guess. Oh. What's Susan Mccoy: Yeah Ellen Morison: this? Susan Mccoy: it's text. Ellen Morison: Right. Susan Mccoy: N Ellen Morison: Hm. Susan Mccoy: no you have to exit. You Charity Cope: So Susan Mccoy: could Charity Cope: that's Susan Mccoy: also make line with uh Ellen Morison: Yeah. Two hours further. Susan Mccoy: Yeah. Ellen Morison: thickness. Oh. Charity Cope: So that's blue. Ellen Morison: Oh. Wh why not go for the twenty? Susan Mccoy: Mm. Yeah. Ellen Morison: Yeah. Charity Cope: Mm. Ellen Morison: That's Susan Mccoy: Y Ellen Morison: what I call painting. So that's that's a dark blue basic colour Charity Cope: Yeah. Ellen Morison: I guess. Susan Mccoy: Yeah and then on Ellen Morison: It's pretty Susan Mccoy: top Ellen Morison: nice. Susan Mccoy: of that. Ellen Morison: And then uh Oh Susan Mccoy: Some Ellen Morison: Yeah Susan Mccoy: yellow. Ellen Morison: with some some yellow banana Susan Mccoy: Banana colour. Ellen Morison: Like. Dolores Adamo: And how about some uh some flashing standby lights? Like you have on the Samsung, well I don't like to call brands phones, the you know that 'cause I remember from one of our first meetings that uh people lose their uh remote controls often. Ellen Morison: Yeah? Dolores Adamo: So it not not only in in the colours of the LEDs, that we want something to keep it visible at all times, or Ellen Morison: How do you mean? Dolores Adamo: Um Susan Mccoy: Yeah Ellen Morison: Some Susan Mccoy: if Ellen Morison: some Susan Mccoy: you Charity Cope: Yeah. Susan Mccoy: if flashing colour so you can't lose it, basically. Dolores Adamo: Yeah. Exactly. Susan Mccoy: Well I Charity Cope: Maybe Susan Mccoy: think Charity Cope: a Susan Mccoy: it's a bit too much but Dolores Adamo: Yeah. Ellen Morison: Yeah an orange. Well alright well this Susan Mccoy: Yeah. Ellen Morison: is more like purple I guess, but Susan Mccoy: Yeah. Ellen Morison: it's should be more real dark blue, so the contrast with the with the fruit objects is uh pretty Charity Cope: Yeah. Ellen Morison: high. Dolores Adamo: Yeah. Ellen Morison: So uh yeah. That would be a nice uh nice device Charity Cope: And Ellen Morison: I guess. Charity Cope: which which colour should uh should I give the the display? Uh Or Susan Mccoy: Who? Ellen Morison: I mean, the the colour of the background of the Charity Cope: Yeah. Ellen Morison: display? Charity Cope: Yeah. Ellen Morison: Ah well I don't guess it s has to be a Susan Mccoy: And then you Ellen Morison: sixty Susan Mccoy: can use yellow Ellen Morison: uh Susan Mccoy: or semething. Ellen Morison: sixty six five thousand uh Susan Mccoy: Why Ellen Morison: colour, Susan Mccoy: not? Ellen Morison: so yeah too expensive. Susan Mccoy: Aye. Ellen Morison: So Charity Cope: Yeah. Ellen Morison: just just a a blue blue Charity Cope: Mm. Ellen Morison: backlight or Charity Cope: Yeah. Ellen Morison: something like that. Green is too old-fashioned. But blue, Dolores Adamo: As Ellen Morison: blue's Dolores Adamo: long Ellen Morison: okay. Dolores Adamo: as you loo Ellen Morison: J Dolores Adamo: use uh high contrast between the the background and the foreground colour. Charity Cope: Yeah maybe Dolores Adamo: So Susan Mccoy: Like Dolores Adamo: that Charity Cope: a Dolores Adamo: people Susan Mccoy: this. Dolores Adamo: with Charity Cope: maybe Dolores Adamo: uh Charity Cope: a white Dolores Adamo: with Charity Cope: a white backlight? Ellen Morison: White backlight, and dark. Charity Cope: Dark uh letters, yeah. Ellen Morison: Yeah. Whatever which is visible. Charity Cope: Yeah. Ellen Morison: I know you sh you should test it under uh under a light conditions. I mean it's hard Charity Cope: Yeah. Ellen Morison: to tell Dolores Adamo: And also Ellen Morison: uh I Dolores Adamo: for Ellen Morison: dunno. Dolores Adamo: people who are a bit colourblind. Susan Mccoy: Colourblind yeah. Ellen Morison: Yeah. True. Susan Mccoy: No so that's mostly red and green I believe. Ellen Morison: Which which uh colour should the buttons be? Charity Cope: That's adjustable. Susan Mccoy: Woah. Ellen Morison: Why Susan Mccoy: All Ellen Morison: adjustable? Susan Mccoy: all buttons? Charity Cope: Yeah? Or Susan Mccoy: Okay. Ellen Morison: No Charity Cope: not. Ellen Morison: uh Charity Cope: That's how we are going to make it uh more trendy. Or is Ellen Morison: But Charity Cope: it uh too expensive? Ellen Morison: maybe I mean they Susan Mccoy: It's Ellen Morison: have Susan Mccoy: difficult. Ellen Morison: to they have to have some colour right? And if the background is Susan Mccoy: Blue. Ellen Morison: very dark blue Susan Mccoy: Maybe green. Dolores Adamo: But don't we wanna make the background the the bright colo colours? So th the total Susan Mccoy: Yeah Dolores Adamo: of the Susan Mccoy: you can Dolores Adamo: thing is very bright? Like the pictures I showed you guys. Those Ellen Morison: Yeah? Dolores Adamo: things were all like like Susan Mccoy: Mm-hmm Dolores Adamo: bright Susan Mccoy: flashy. Dolores Adamo: red, bright red, flashy. Ellen Morison: So more like Susan Mccoy: Mm bzz. Ellen Morison: Doesn't work very well. Uh. More like this colour. Dolores Adamo: Yeah something like that, something that Ellen Morison: And then Dolores Adamo: stands out more. Ellen Morison: then yellow and orange and red objects on it Charity Cope: Mm. Ellen Morison: or something. Dolores Adamo: Yeah. Ellen Morison: But then then again, which colour should the buttons be? The the press buttons. Should they be white or black or Susan Mccoy: Red maybe. Charity Cope: And it it looks Ellen Morison: Uh Charity Cope: quite Susan Mccoy: Black. Charity Cope: cheap, that colour I think. It's it's not Dolores Adamo: The green? Charity Cope: Yeah. Ellen Morison: Yeah Susan Mccoy: Why? Ellen Morison: but it's pretty Charity Cope: I dunno. Ellen Morison: fresh, on the Susan Mccoy: Yeah. Ellen Morison: other side. Susan Mccoy: So Dolores Adamo: It's actually a pretty trendy colour at the moment. Charity Cope: It's it's trendy okay. Ellen Morison: Yeah. Charity Cope: But Ellen Morison: My couch Charity Cope: Mm. Ellen Morison: is in that colour. Susan Mccoy: Ooh. Ellen Morison: Yeah. Well Charity Cope: Yeah. Ellen Morison: it works pretty well. And then time was up. Susan Mccoy: Uh not yet. Ellen Morison: Uh. Dolores Adamo: Do you get a pop-up if Susan Mccoy: Yeah Dolores Adamo: we Susan Mccoy: within five minutes yeah. Ellen Morison: That Dolores Adamo: Alright. Ellen Morison: you have five minutes Susan Mccoy: Y left Ellen Morison: left or Susan Mccoy: yeah left and then uh I have to kick you Ellen Morison: So Susan Mccoy: out. Ellen Morison: something like this. Charity Cope: Yeah. Ellen Morison: That should be pretty nice colour. But maybe the buttons, all buttons in red is maybe a bad contrast for colourblind Susan Mccoy: Yeah Ellen Morison: people. Susan Mccoy: yeah. Dolores Adamo: No Ellen Morison: Because Dolores Adamo: that's Ellen Morison: the Dolores Adamo: actu Ellen Morison: of the Charity Cope: But Ellen Morison: green. Charity Cope: the but the buttons have their own LEDs or not? Ellen Morison: Yeah. Susan Mccoy: They have LEDs but they Dolores Adamo: Red Susan Mccoy: have a colour. Dolores Adamo: and green are actually the b the easiest to discriminate. Even for colourblind. Ellen Morison: Yeah? Dolores Adamo: They will see one of each as grey. Ellen Morison: Yeah. Dolores Adamo: But if you use uh green on blue, those kind of colours will look the same. Charity Cope: Okay. Ellen Morison: Okay. Dolores Adamo: I think. Ellen Morison: So red buttons are okay? Dolores Adamo: I think so. Charity Cope: Okay. That Susan Mccoy: You can Charity Cope: that's Susan Mccoy: make Charity Cope: a Susan Mccoy: them Charity Cope: default Susan Mccoy: red. Charity Cope: uh setting. The the red buttons. Susan Mccoy: Yeah. But I think you need to keep in mind that the LEDs are just extra light. Ellen Morison: How do you mean? Yeah. Susan Mccoy: Uh they they don't determine the colour Charity Cope: Okay. Yeah Susan Mccoy: that much, Charity Cope: I I Susan Mccoy: I Charity Cope: was Susan Mccoy: think. Charity Cope: think about a red uh red LEDs and blue LEDs and Susan Mccoy: 'Cause Ellen Morison: No Susan Mccoy: you have to Ellen Morison: that's that's Susan Mccoy: print Ellen Morison: too Susan Mccoy: on Ellen Morison: busy Susan Mccoy: them you Ellen Morison: I guess. Susan Mccoy: have Charity Cope: Yeah. Susan Mccoy: a background. Each number is transparent. Charity Cope: Yeah. Susan Mccoy: Uh partly but you have to print on the number. Or the the sign. Charity Cope: Okay. Susan Mccoy: So you can't Ellen Morison: You better Susan Mccoy: change Ellen Morison: bet Susan Mccoy: the colour so Ellen Morison: better better keep the LED and the button itself in the same colour Charity Cope: Okay. Susan Mccoy: Yeah. Ellen Morison: I guess. So just an extra Susan Mccoy: Bit of light. Dolores Adamo: You can Ellen Morison: bit of light Dolores Adamo: what Ellen Morison: and Dolores Adamo: we Ellen Morison: attention. Dolores Adamo: should Susan Mccoy: Bit Dolores Adamo: do Susan Mccoy: of feedback. Dolores Adamo: I think is is make kind of a see-through plastic button, with Charity Cope: Yeah. Susan Mccoy: Yeah. Dolores Adamo: uh one coloured LED behind it. Susan Mccoy: Yeah. Ellen Morison: Yeah. Dolores Adamo: So that the whole button will shine Susan Mccoy: Mm-hmm. Dolores Adamo: as the colour the And if you think about easy to use buttons, we have to, well we have to make it the shape so that it's easy to hold f for both hands, but also that you can reach the buttons Susan Mccoy: Mm-hmm. Dolores Adamo: with your thumb, Ellen Morison: Yeah. Dolores Adamo: if Susan Mccoy: Okay Dolores Adamo: you hold Susan Mccoy: with Dolores Adamo: the machine. Susan Mccoy: Uh Don't mean to discourage you but uh basically you two are going to work on the smartboard. Next thirty minutes to design Dolores Adamo: Ah, right. Susan Mccoy: something so Ellen Morison: Alright. Susan Mccoy: And the You will do the evaluation. Ellen Morison: Of the product? Susan Mccoy: Yeah. Ellen Morison: Which we don't have yet. Susan Mccoy: Yeah uh about Ellen Morison: So wh how should I do that? Susan Mccoy: Yeah I don't know. Ellen Morison: Oh Susan Mccoy: You Ellen Morison: okay. Susan Mccoy: probably get a mail. Ellen Morison: Or you you or you send it to Ellen Morison. Or just because Susan Mccoy: Yeah. Ellen Morison: you are Susan Mccoy: Once Ellen Morison: going Susan Mccoy: they Ellen Morison: to Susan Mccoy: are finished. Ellen Morison: design it Susan Mccoy: Yeah. Ellen Morison: on this board right? Susan Mccoy: Yeah but maybe you can do the evaluation you don't have to evaluate yet but you can make a procedure which to follow. Ellen Morison: Yeah. Susan Mccoy: I don't know. Ellen Morison: I I probably get instruction on that, Susan Mccoy: Yeah. Ellen Morison: how to do that, so I make another presentation I guess. Susan Mccoy: Yeah. Ellen Morison: I kn I know what's gonna happen in Susan Mccoy: About. Ellen Morison: in Susan Mccoy: Yeah. Ellen Morison: yeah so Susan Mccoy: You have the basic idea. Ellen Morison: I've a basic idea. Susan Mccoy: And you two uh are going to do this. Charity Cope: Yeah. Dolores Adamo: So Susan Mccoy: Look-and-feel Dolores Adamo: we're gonna work Susan Mccoy: and Dolores Adamo: here? On this sketchboard? Susan Mccoy: Yeah. Ellen Morison: Yeah. Susan Mccoy: Good Dolores Adamo: Alright. Susan Mccoy: luck. Dolores Adamo: Thanks. Ellen Morison: Yeah. Alright so that's Susan Mccoy: So Ellen Morison: uh Susan Mccoy: I uh make new page and uh be creative. Ellen Morison: Yeah. Dolores Adamo: Alright. Charity Cope: But we have to do it at this moment, after Susan Mccoy: Yeah Charity Cope: th this Susan Mccoy: you Charity Cope: meeting? Susan Mccoy: have uh Dolores Adamo: Thirty minutes. Susan Mccoy: thirty minutes. Charity Cope: Okay. Susan Mccoy: Then we have to uh see something Ellen Morison: Yeah. Susan Mccoy: which we Charity Cope: Yeah. Susan Mccoy: can Dolores Adamo: Alright. Susan Mccoy: uh Charity Cope: Ah Susan Mccoy: show Charity Cope: so this Susan Mccoy: to the Charity Cope: is Susan Mccoy: management. Charity Cope: basically the what what we are thinking about? Dolores Adamo: Yeah. Shall Susan Mccoy: I would Dolores Adamo: we uh Susan Mccoy: yeah. Dolores Adamo: make a new uh Charity Cope: Yeah Susan Mccoy: Yeah. Charity Cope: l Ellen Morison: Yeah. Charity Cope: let's just uh delete all Susan Mccoy: Next. Charity Cope: these uh or Dolores Adamo: Yeah, I just Charity Cope: Oh, next. Dolores Adamo: make a new one. Ellen Morison: Yeah. Dolores Adamo: Alright. Susan Mccoy: Oh and save this uh board. Dolores Adamo: Huh? Susan Mccoy: Just Dolores Adamo: Yeah Susan Mccoy: save Dolores Adamo: I'll just Susan Mccoy: it. Dolores Adamo: I'll just keep it there. Susan Mccoy: Yeah okay but just press save and uh Dolores Adamo: Yeah. Susan Mccoy: It'll be fine. Ellen Morison: On the left. S so, yeah. Dolores Adamo: Uh sorry. Susan Mccoy: You can also include clip-art. Dolores Adamo: Okay. Ellen Morison: Yeah. Dolores Adamo: Current Susan Mccoy: So if you'll Dolores Adamo: colour? Susan Mccoy: rather draw in paint or something Dolores Adamo: So um Charity Cope: Okay. Uh Dolores Adamo: Shall we make some outline sketches of the basic shape first? Charity Cope: Yeah. Dolores Adamo: Because Charity Cope: And then after Dolores Adamo: I Charity Cope: that we Dolores Adamo: I Charity Cope: can make the user uh inter interface. Susan Mccoy: then look. Dolores Adamo: Yeah 'cause I have to uh focus on the on the Ellen Morison: This? Dolores Adamo: basic look-and-feel Susan Mccoy: Yeah. Dolores Adamo: design. Charity Cope: Yeah. Dolores Adamo: So how it's gonna look. And you have to think Ellen Morison: Uh Dolores Adamo: uh Ellen Morison: pretty Dolores Adamo: how we're Ellen Morison: accurate. Dolores Adamo: gonna put the screen in it and those kind of things. So if I'm drawing and you think okay I'm not gonna be Ellen Morison: Oh Dolores Adamo: able Ellen Morison: we Dolores Adamo: to put Ellen Morison: skip Dolores Adamo: a screen Ellen Morison: this I Dolores Adamo: in Ellen Morison: guess. Dolores Adamo: there, Ellen Morison: Sound Dolores Adamo: you have to Ellen Morison: button Dolores Adamo: correct. Ellen Morison: press. Charity Cope: Yep. Dolores Adamo: Uh Susan Mccoy: Yeah. Dolores Adamo: do you mind if I Susan Mccoy: You Dolores Adamo: draw Susan Mccoy: can also Dolores Adamo: in black Susan Mccoy: include Dolores Adamo: then? Susan Mccoy: it. It's Dolores Adamo: For Susan Mccoy: not much Dolores Adamo: normal Susan Mccoy: work. Dolores Adamo: sketches. Ellen Morison: Light only Charity Cope: Oh Ellen Morison: button Charity Cope: no it's it's Ellen Morison: user Charity Cope: okay. Ellen Morison: ca user interaction. Dolores Adamo: so we kind Ellen Morison: Yeah. Dolores Adamo: of Susan Mccoy: That's Dolores Adamo: want Susan Mccoy: included. Dolores Adamo: the girlish Susan Mccoy: Yeah Ellen Morison: Yeah. Susan Mccoy: okay. Ellen Morison: So Dolores Adamo: figure. Ellen Morison: the pl the plastic plastic buttons also help uh because of um they are only Dolores Adamo: I'm Ellen Morison: lit Dolores Adamo: not so good Ellen Morison: during Dolores Adamo: at drawing. Ellen Morison: interaction. So Dolores Adamo: Excuse Ellen Morison? Ellen Morison: Well it's a good thing that the buttons aren't um, well that they are plastic, because then you can light up the light Charity Cope: Yeah. Ellen Morison: on Charity Cope: Yeah. Ellen Morison: when when they are usable. Dolores Adamo: No uh uh. Ellen Morison: Maybe you should draw it very large Charity Cope: Yeah Ellen Morison: like this. Charity Cope: but Susan Mccoy: Yeah. Charity Cope: this part isn't uh functioning Susan Mccoy: Sensitive. Ellen Morison: Oh Charity Cope: properly. Ellen Morison: right. Dolores Adamo: How do we uh Ellen Morison: Erase? Dolores Adamo: uh or insert text? Susan Mccoy: I dunno. Maybe just start typing. Charity Cope: It's a bit Dolores Adamo: Oh that's Charity Cope: uh Dolores Adamo: a Charity Cope: large. Dolores Adamo: bit big. Yeah. Susan Mccoy: You also do the other sides. Not only on the front si uh the top Dolores Adamo: Yeah. Susan Mccoy: side Dolores Adamo: Ex Susan Mccoy: but Dolores Adamo: exactly. Susan Mccoy: also the the side view. Charity Cope: L Dolores Adamo: Uh Charity Cope: let's make first the the the all Susan Mccoy: Uh. Charity Cope: the views. The the front view, side view and the back view. Dolores Adamo: Uh I thought for the side view, that Susan Mccoy: Jesus. Dolores Adamo: the w Susan Mccoy: What Dolores Adamo: the Susan Mccoy: do Dolores Adamo: basic Susan Mccoy: I write Dolores Adamo: section Susan Mccoy: down? Ellen Morison: Yeah. Dolores Adamo: would be rather Susan Mccoy: Why can't Dolores Adamo: uh Susan Mccoy: I work here? This Dolores Adamo: a bit Susan Mccoy: is much Dolores Adamo: thicker than the middle, Ellen Morison: Much Dolores Adamo: where Susan Mccoy: easier. Dolores Adamo: you're Ellen Morison: easier, Charity Cope: Yeah. Dolores Adamo: holding Ellen Morison: yeah. Dolores Adamo: it with your 'cause your Susan Mccoy: Yeah. Dolores Adamo: fingers have to fit underneath Charity Cope: The middle has Dolores Adamo: and Charity Cope: to be Susan Mccoy: Mm. Charity Cope: very small Ellen Morison: I don't Charity Cope: so Ellen Morison: see Charity Cope: you Ellen Morison: a Charity Cope: can Ellen Morison: sign that the meeting Charity Cope: have Ellen Morison: is over Charity Cope: it in your Ellen Morison: yet Charity Cope: hand. Dolores Adamo: Exactly Ellen Morison: but Susan Mccoy: No Dolores Adamo: but Susan Mccoy: so Dolores Adamo: the Susan Mccoy: I just Dolores Adamo: uh Susan Mccoy: work here Dolores Adamo: but Susan Mccoy: a Dolores Adamo: the Susan Mccoy: few minutes. Dolores Adamo: upper Ellen Morison: Yeah. Dolores Adamo: side has to be a bit more like that I think. Charity Cope: Yeah Dolores Adamo: Uh don't Charity Cope: the display, Dolores Adamo: you think? Charity Cope: we yeah we can Dolores Adamo: So Charity Cope: put Dolores Adamo: the Charity Cope: a Dolores Adamo: display Charity Cope: display. Dolores Adamo: we will put in here, the basic uh functions in here, where it's most reachable. Charity Cope: Yeah. Dolores Adamo: The Charity Cope: The the Dolores Adamo: The th Charity Cope: arrow functions. Dolores Adamo: Exactly. Charity Cope: Yeah. Yeah. Dolores Adamo: Oh. This is hard. What do don't have to draw it exactly do we? Charity Cope: No it's it's uh it's okay. Dolores Adamo: Wait. Let Ellen Morison try it one more time. Maybe I've uh it's easier if I draw it in once. Okay, of course it will become way more ugly. Charity Cope: You can make it m larger. Maybe it's easier to to draw uh Dolores Adamo: Yeah. This'll take forever. It's fun to work with this pen. Um so, larger. Ellen Morison: Oh. Charity Cope: Yeah Ellen Morison: Wrong Charity Cope: that's Dolores Adamo: And Ellen Morison: one. Charity Cope: that's the basic idea. Yeah. Dolores Adamo: yeah. So side. Susan Mccoy: Five minutes left before the meeting ends. Dolores Adamo: 'Kay. Um other views? Ellen Morison: Alright. Charity Cope: Yeah only if you are going to put buttons on the side of the Dolores Adamo: Uh Charity Cope: unit. Dolores Adamo: Yeah. Charity Cope: That's the question. Ellen Morison: But we we Dolores Adamo: Let's fill i fill in the buttons later. Charity Cope: Yeah. Dolores Adamo: So this is gonna be from the Ellen Morison: I is it if Dolores Adamo: uh from Ellen Morison: if this is from the side woah. Charity Cope: From Dolores Adamo: yeah Charity Cope: the Dolores Adamo: yeah. Ellen Morison: Steady. Dolores Adamo: Sorry. Ellen Morison: Because there the screen goes up like that right? Dolores Adamo: Yeah. Ellen Morison: So then it's like this, or Dolores Adamo: Yeah? Ellen Morison: that's not convenient because then you have the screen like this and look like the it's better to have it somewhat like this. Or does it flip Charity Cope: Yeah Dolores Adamo: The Charity Cope: I'm Dolores Adamo: the Charity Cope: I'm Dolores Adamo: idea Ellen Morison: all the way? Dolores Adamo: is that it has to flip up Charity Cope: May Dolores Adamo: to here. Charity Cope: maybe it's it's easier to to integrate the the the L_C_D_ screen just into this this bubble. Dolores Adamo: Okay. Charity Cope: Because it do doesn't have to flip then. Because Dolores Adamo: Yeah. Charity Cope: we have en enough Dolores Adamo: Yeah yeah Charity Cope: space Dolores Adamo: yeah. Charity Cope: for for making a an L_C_D. Because Ellen Morison: It's Charity Cope: here Ellen Morison: better to to Dolores Adamo: True. Ellen Morison: have this like this I guess, and then flip it like Charity Cope: But why Ellen Morison: this. Charity Cope: why do we need uh the flipping uh Dolores Adamo: you can adjust the angle to which it flips. So it can also from this angle, it can flip all the Charity Cope: Okay. Dolores Adamo: way up to there. Charity Cope: Yeah. Dolores Adamo: You can flip it up to there if you Ellen Morison: Yeah. Dolores Adamo: want. Ellen Morison: So w yeah. But we still keep the flipping mechanism. Dolores Adamo: Think Charity Cope: Yeah. Dolores Adamo: so. Susan Mccoy: Yeah we keep the flip? Keep the Dolores Adamo: Yeah Susan Mccoy: flip Dolores Adamo: because Susan Mccoy: live. Dolores Adamo: I think it will feel weird if you would make this smaller and this bigger or something that Charity Cope: Yeah. Dolores Adamo: I dunno. Charity Cope: Uh the the shape is okay but yeah? I don't see the the yeah why why we should use the the flipping uh mechanism. Ellen Morison: Yeah. Dolores Adamo: I Charity Cope: Because Dolores Adamo: thought Charity Cope: we Dolores Adamo: it would be cool. Charity Cope: Okay yeah. It's it's for Ellen Morison: Yeah Charity Cope: for Ellen Morison: but Charity Cope: for Ellen Morison: maybe Charity Cope: more trendy uh Ellen Morison: Yeah but maybe we we should then Charity Cope: Because we have enough space. H here we got uh the basic functions, Ellen Morison: Yeah Charity Cope: the Ellen Morison: there the middle Charity Cope: the arrow uh yeah button. Ellen Morison: Sh sh shouldn't we integrate it? Charity Cope: Yeah and Ellen Morison: And then Charity Cope: then h we sh mm. Ellen Morison: like i oh th doh. Come on. So this is the shape. Oh. It hasn't Dolores Adamo: It doesn't aim so well. Ellen Morison: Okay but the screen is a bit lower because if it falls Charity Cope: Yeah, Ellen Morison: on the other side, Charity Cope: then it's Ellen Morison: it doesn't fall on the screen. So there's a layer of rubber on Dolores Adamo: Yeah Ellen Morison: the side. Dolores Adamo: yeah yeah. Definitely. Ellen Morison: So no flipping but just Charity Cope: No flipping or Susan Mccoy: No flipping? Ellen Morison: no. Charity Cope: you wanted the flipping so Dolores Adamo: Yeah I guess but uh I mean Charity Cope: But Dolores Adamo: most Charity Cope: if you Dolores Adamo: votes Charity Cope: if you Dolores Adamo: count right? Charity Cope: If you drop it it it just breaks. And it has to be very strong because of the. Yeah Ellen Morison: Throwing Susan Mccoy: It's shaking. Dolores Adamo: Yeah. Ellen Morison: and the kinetics. Oh. Charity Cope: kind of Ellen Morison: We Dolores Adamo: Yeah Ellen Morison: better Dolores Adamo: true Ellen Morison: make Dolores Adamo: true. Ellen Morison: we better make it like this. Dolores Adamo: Yeah. Ellen Morison: Eventually. Susan Mccoy: Yeah just Dolores Adamo: Yeah Charity Cope: And Dolores Adamo: if Susan Mccoy: light Charity Cope: it's Dolores Adamo: you if Susan Mccoy: on top. Dolores Adamo: you're going Charity Cope: also Dolores Adamo: for Charity Cope: for Dolores Adamo: the kinetics Charity Cope: the for Ellen Morison: Yeah. Charity Cope: the children, it's yeah for people Susan Mccoy: Safer. Charity Cope: not sixteen years. Susan Mccoy: Mm. Ellen Morison: Uh Charity Cope: But Ellen Morison: they Susan Mccoy: Yeah Charity Cope: there Ellen Morison: are Charity Cope: are Ellen Morison: responsible Susan Mccoy: okay Charity Cope: more Susan Mccoy: that the Ellen Morison: enough Susan Mccoy: target Ellen Morison: to have a mobile Susan Mccoy: group. Ellen Morison: phone, so also to to Charity Cope: Yeah Ellen Morison: deal Charity Cope: okay. Ellen Morison: with their Charity Cope: That's true. Ellen Morison: uh remote uh control. Yes. Charity Cope: Okay. Yeah? Susan Mccoy: Well. Dolores Adamo: Yeah. I'm just Susan Mccoy: I just Dolores Adamo: thinking Susan Mccoy: uh ended Dolores Adamo: totally Susan Mccoy: the meeting. Dolores Adamo: different Susan Mccoy: You Dolores Adamo: designs Susan Mccoy: two go Dolores Adamo: also. Susan Mccoy: design. Charity Cope: Okay Dolores Adamo: Remember Charity Cope: wi Dolores Adamo: that the weird pocketphone thingy Susan Mccoy: Oh. Dolores Adamo: which Susan Mccoy: By the way. Dolores Adamo: looked like Susan Mccoy: Um Dolores Adamo: kind of a Gameboy. Charity Cope: Yeah. Dolores Adamo: Maybe we should try something like that. Susan Mccoy: I Dolores Adamo: But yeah. Susan Mccoy: uh thought up a name for our product. Ellen Morison: Yeah? Dolores Adamo: Oh Susan Mccoy: Yeah. Dolores Adamo: right. Susan Mccoy: It's called uh the Real Remote. Ellen Morison: Ooh. Dolores Adamo: Alright. Susan Mccoy: With a copyright sign after Real. Ellen Morison: Yeah. Charity Cope: The Ellen Morison: Alright. Charity Cope: Real Remote. Dolores Adamo: Yeah. I like it. Okay. Susan Mccoy: So Ellen Morison: Good. Susan Mccoy: maybe Dolores Adamo: This Susan Mccoy: you Dolores Adamo: can Susan Mccoy: can Dolores Adamo: go. Susan Mccoy: include that somewhere. Ellen Morison: Yeah. We should work in our own room right? Or Susan Mccoy: Yeah. Dolores Adamo: Oh Ellen Morison: not? Dolores Adamo: yeah we have to f uh include that in our design Susan Mccoy: I don't see Dolores Adamo: as Susan Mccoy: any Dolores Adamo: well. Susan Mccoy: power cables here so Dolores Adamo: Let's see. Ellen Morison: Yeah. Yes. Dolores Adamo: What the hell's that? Susan Mccoy: 'Kay. Ellen Morison: See you two Charity Cope: I think Ellen Morison: in half Charity Cope: uh Ellen Morison: an hour Charity Cope: it's Ellen Morison: uh Charity Cope: the sensors. Okay. Dolores Adamo: Uh Susan Mccoy: Good luck. Charity Cope: Yep. Okay that's the side. Ah it's it's okay. But do we want uh options on the on the side with the with the buttons? Dolores Adamo: Yeah. Charity Cope: Or just Dolores Adamo: I Charity Cope: leave Dolores Adamo: think Charity Cope: it? Dolores Adamo: we do. Charity Cope: Uh could make an uh a volume button uh scroll, volume button. Dolores Adamo: Yeah or j or also scrolling for the m Charity Cope: For Dolores Adamo: yeah. Charity Cope: menu. Dolores Adamo: Yeah? Charity Cope: Or Dolores Adamo: I dunno. We w kind of wanted to stick with the Charity Cope: Yeah. No, Dolores Adamo: Yeah I'm just Charity Cope: yeah. Dolores Adamo: thinking, if we i we wanna make something different right? So the with the scroll is is more futuristic than the standard arrow buttons. Charity Cope: Yeah. Dolores Adamo: I think. Charity Cope: Mm. Yeah you are going to design it so.

Ellen Morison talked about trendwatching and explained that the current trends are for fruit and vegetable themed products and products with a spongy texture. For users, the three most important aspects of a remote control are a fancy look and feel, technological innovation, and ease of use. Dolores Adamo talked about the options for energy source, case shape and material, and internal components. The group decided on using kinetic energy, and a double-curved rubber case. Charity Cope talked about speech recognition and what functions will be controlled through buttons or the lcd screen menu. Susan Mccoy ran through the group's decisions so far and led a discussion of their remaining options, including the colour of the case and buttons, and whether the remote should flip open or not.

amisum

train

Ida Ecker: Hi. Wanda Moore: Hi. Jean Mooney: Hello. Ida Ecker: Oh. Jean Mooney: Good morning. Ida Ecker: Good morning. Wanda Moore: Morning. Aurora Peters: Good morning. Jean Mooney: 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 Aurora Peters: By Big Brother? Jean Mooney: Yeah. Yeah. Aurora Peters: Okay. Jean Mooney: This uh These are cameras, so are these. Aurora Peters: Mm-hmm. Jean Mooney: This thing uh that looks like a pie, are Aurora Peters: Yeah. Jean Mooney: actually all microphones. Aurora Peters: Okay. Jean Mooney: 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. Aurora Peters: Of our faces. Jean Mooney: And Indeed. So they can see our faces. Okay. Jean Mooney: 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 Jean Mooney. What's your name? Ida Ecker: I'm Juergen Toffs I'm Ida Ecker. Jean Mooney: User interface, okay. Wanda Moore: Hi, my uh I'm Wanda Moore. Jean Mooney: Industrial, yes. Aurora Peters: I'm uh Tim. Um my function is Aurora Peters. Jean Mooney: 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 Aurora Peters: Speaks for Jean Mooney: uh Aurora Peters: itself. Jean Mooney: 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. Aurora Peters: I have a question. Jean Mooney: Yes? Aurora Peters: Um this exercise, Jean Mooney: Yeah. Aurora Peters: um did the company board tell you to do it, or uh did you just make it up yourself? Jean Mooney: No no no. It's uh it's uh I I Aurora Peters: It's Jean Mooney: I Aurora Peters: part Jean Mooney: must Aurora Peters: of the Jean Mooney: do Aurora Peters: introduction, Jean Mooney: it. Yeah, yeah, yeah. Aurora Peters: okay. Jean Mooney: '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 Aurora Peters: Okay. Jean Mooney: uh dig in really to the hard stuff. That kind of thing. Would you start with drawing your uh favourite Aurora Peters: Um, Jean Mooney: animal? Aurora Peters: yeah. I don't know really how it works. But maybe Jean Mooney: Okay, Aurora Peters: you can Jean Mooney: okay. Aurora Peters: show us first? Jean Mooney: 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 Aurora Peters: You Jean Mooney: this. Aurora Peters: g you get electrocuted or Jean Mooney: 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 Ida Ecker: Ach. Jean Mooney: watch it. Oh yeah. Well I'm gonna paint in the red. Ida Ecker: Ooph. Jean Mooney: Oh. That's the background colour. Well, undo. Um The pen? No. One minute please. Jean Mooney: Yeah, that's the one. Well, five. Okay. My favourite animal huh? Aurora Peters: It's like Pictionary? Jean Mooney: Yeah, you can guess what Aurora Peters: The Jean Mooney: it is. Aurora Peters: the one who says it first gets a raise. Jean Mooney: May uh paint uh next. Aurora Peters: It's a pork? Jean Mooney: No, it's not an orc. You don't see it uh at the ears? Aurora Peters: Mm yeah, I have it at home. Jean Mooney: You have an orc at home? Ida Ecker: Very artistic. Jean Mooney: Thank you. So it's a cat. Aurora Peters: What's it called? Jean Mooney: Simba. Aurora Peters: Ah. Jean Mooney: 'Cause uh we have a cat at home and he's called Simba. 'Cause Ida Ecker: Okay. Jean Mooney: he looks like the uh the the lion from The Lion King. Aurora Peters: Miniature Jean Mooney: So we Aurora Peters: size? Jean Mooney: uh found it kinda cool to uh name it after a lion. Aurora Peters: Okay. Jean Mooney: He's happy with us, so uh he's smiling. Ida Ecker: Wow. He does have body uh Jean Mooney: No, only the face. Because Ida Ecker: Huh. Jean Mooney: we have we have twen twenty five minutes. Aurora Peters: Okay. Jean Mooney: So we uh Aurora Peters: We have to speed up. Jean Mooney: Yeah. Aurora Peters: Remember you use uh different colours, and different pen widths. Jean Mooney: Yeah. Okay, who wants to go next? Aurora Peters: I Okay. Jean Mooney: Yeah? So choose a colour, choose a pen width and draw a Ida Ecker: You don't have to change the colour and the pen width during Aurora Peters: Save it. Ida Ecker: uh the drawing. Or Jean Mooney: Yeah. Aurora Peters: You have to save it. Jean Mooney: Save it, okay. Aurora Peters: I've done it. New? 'Kay. Ida Ecker: You have to draw uh push hard on the pen or uh Aurora Peters: Mm uh Not really. Um Jean Mooney: Kind of firm touch. Aurora Peters: That one. Ida Ecker: Oh. Uh hmm. Aurora Peters: Yeah? Okay. Open. Which one is it? Smart board? Okay. Ida Ecker: Okay. Jean Mooney: Yeah. Aurora Peters: And now? Aurora Peters: Okay. Okay, thanks. 'Kay, I've speed up. 'Kay, that's fine. Line width. Wanda Moore: By the way, why was your cat uh red? Jean Mooney: Because uh my cat is red uh Wanda Moore: Oh, Jean Mooney: at Ida Ecker: Oh. Jean Mooney: home. Wanda Moore: okay. Jean Mooney: And I have red hair, so uh Ida Ecker: It's Wanda Moore: Oh, Ida Ecker: a very Wanda Moore: yeah, Ida Ecker: bloody Wanda Moore: sure. Ida Ecker: cat. Jean Mooney: must be red. Ida Ecker: It's a frog. Wanda Moore: No, it's a turtle. Aurora Peters: It's not an apple. Wanda Moore: Must be a dog. Ida Ecker: A dog? Wanda Moore: Yeah. Aurora Peters: Hmm. Colour. Something like this. Smaller. Ida Ecker: Huh? Oh, it is a turtle. Jean Mooney: It is a turtle. Why a turtle? Why? Tim? Aurora Peters: Um 'Cause I liked Teenage Mutant Hero Turtles. Jean Mooney: You watched it a lot? Aurora Peters: Uh? Jean Mooney: You watched it a lot? Ida Ecker: It's uh inside its shell. You'll be uh finished Aurora Peters: No, Ida Ecker: sooner. Aurora Peters: it's uh Jean Mooney: It's a scared turtle. Aurora Peters: No no. It's coming up. Mm. Uh. Ida Ecker: Wow. Jean Mooney: Okay, Aurora Peters: Something Jean Mooney: Tim. Aurora Peters: like this. Jean Mooney: Thank you. Aurora Peters: Okay, you know Very artistic. Jean Mooney: Jurgen, you want to go next? Ida Ecker: Yes. Okay. Aurora Peters: Yeah? Ida Ecker: Wha Thank you. Aurora Peters: Here you go. Ida Ecker: Yeah. Um How did it work? Jean Mooney: Format? Ida Ecker: Performance? Jean Mooney: And then you have the the current colour, you can change. So no red or green. Ida Ecker: And a pen? Jean Mooney: And uh line uh width. I had five. Tim had Uh Ida Ecker: Um Jean Mooney: Tim, what kinda line width Aurora Peters: Uh Jean Mooney: did you Aurora Peters: the Jean Mooney: have? Aurora Peters: big lines were like nine. Jean Mooney: Okay. It's a dog. Ida Ecker: Well, very good. I just Wanda Moore: Uh. Ida Ecker: uh thought I'd pick Jean Mooney: Okay. Ida Ecker: the easiest one. Jean Mooney: Why a dog? You have a dog at home? Ida Ecker: Well, we had a dog, Aurora Peters: Uh, Jean Mooney: Had Aurora Peters: it's Ida Ecker: a Jean Mooney: a Ida Ecker: few Aurora Peters: p Jean Mooney: dog? Ida Ecker: years ago. Jean Mooney: Yeah? Ida Ecker: And and it, yeah, when it died we didn't get a new one or something. Jean Mooney: Ah. Aurora Peters: It's Ida Ecker: But Aurora Peters: pretty good Ida Ecker: uh Aurora Peters: uh Jean Mooney: You have an artistic uh inner middle. Aurora Peters: An artist. Ida Ecker: Uh a Graphical User Designer, so Wanda Moore: Hmm. Ida Ecker: Hey. Aurora Peters: Think you uh picked the wrong uh function. Wrong job. Ida Ecker: Oh. No. Can work together. Ah colour. Jean Mooney: So I think you can see it's real uh really a easy programme to use. Not difficult at all. Aurora Peters: Wha Ida Ecker: Well, it's Jean Mooney: Okay, Ida Ecker: okay. Jean Mooney: thank you. Aurora Peters: That's enough, thanks. Jean Mooney: Janus? Wanda Moore: Yeah, sure. Jean Mooney: The last one? Ida Ecker: Yeah. Wanda Moore: Uh thanks. Aurora Peters: I wonder. Jean Mooney: Yeah. After a cat, a turtle and a dog. I think he's gonna draw an elephant. Wanda Moore: but I'm gonna do something much more difficult. Jean Mooney: Uh-oh. Ida Ecker: Uh-oh. Oh, he is the artistic design. Aurora Peters: I'm gonna design a remote uh remote control Ida Ecker: Remote Aurora Peters: animal. Ida Ecker: control animal. Wanda Moore: Exactly. Aurora Peters: Oh. Wanda Moore: Uh Aurora Peters: Sorry. Ida Ecker: Well with the interface, it might be easier to ha to draw here and Aurora Peters: Yeah. Ida Ecker: display there uh. Aurora Peters: That that might be easier. But at the other hand, uh a pen like that is easy to hold in your hand, and Jean Mooney: No. Aurora Peters: I think it's easier to Jean Mooney: Better Aurora Peters: draw. Jean Mooney: to draw with a Aurora Peters: Yeah. With Jean Mooney: with Aurora Peters: a pen Ida Ecker: Than Aurora Peters: than with Ida Ecker: on Aurora Peters: a Ida Ecker: the, Aurora Peters: mouse Ida Ecker: with Aurora Peters: mouse. Ida Ecker: Yeah, I m I mean like uh like Aurora Peters: Mouth. Ida Ecker: on here, drawing drawing Aurora Peters: Oh, Ida Ecker: uh. Aurora Peters: okay. Ida Ecker: And then Aurora Peters: Yeah. Ida Ecker: displaying Aurora Peters: W Ida Ecker: on screen, Aurora Peters: with Ida Ecker: but Aurora Peters: this paper Jean Mooney: But what Aurora Peters: it's too Jean Mooney: is he Aurora Peters: mu Jean Mooney: uh? Aurora Peters: too expensive. Ida Ecker: Too expensive, Jean Mooney: Is it a rabbit? Ida Ecker: yeah. Wanda Moore: Yes. Jean Mooney: Do you have a rabbit at home? Wanda Moore: No. Aurora Peters: It's a rabbit Ida Ecker: A Aurora Peters: with Ida Ecker: green Aurora Peters: uh Ida Ecker: rabbit. Aurora Peters: broken legs? Jean Mooney: Is Wanda Moore: No. Jean Mooney: it a white rabbit f It's the white rabbit from The Matrix. Wanda Moore: Yeah, exactly. Jean Mooney: Okay, then Ida Ecker: There, Jean Mooney: yeah. Ida Ecker: the g white green rabbit. Wanda Moore: So. Ida Ecker: He's a little bit stoned there. Wanda Moore: Uh I figured this is a pretty b good impression of a rabbit. Aurora Peters: Yeah. It Wanda Moore: Uh Aurora Peters: will Wanda Moore: uh Aurora Peters: do. Wanda Moore: Uh well. Jean Mooney: Okay. Finishing touch and then we're going further. Aurora Peters: Project Manager? Uh Jean Mooney: Yeah? Wanda Moore: Where does the pen go? Just Aurora Peters: Have Wanda Moore: uh Aurora Peters: you been uh counting the time? Jean Mooney: Yeah, a little. Aurora Peters: Okay. Let's go on then. Jean Mooney: Well, I think the dog is the the most uh Wanda Moore: Uh I figured Jean Mooney: artistic. Wanda Moore: the rabbit was actually the most uh impressive. Jean Mooney: Don't choose for youself. Wanda Moore: Oh, Jean Mooney: That's Wanda Moore: sorry. Jean Mooney: selfish. Okay, Aurora Peters: It's pretty Jean Mooney: now we're Aurora Peters: abstract. Jean Mooney: 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 Ida Ecker: Yeah, how much is it? Aurora Peters: Like how much? Ida Ecker: Hundred million uh remotes Jean Mooney: Uh Ida Ecker: or something? Jean Mooney: I think uh w when the selling price is twenty five, Ida Ecker: Oh Jean Mooney: uh Ida Ecker: yeah. Wanda Moore: Twenty million. Jean Mooney: uh you got two million, Wanda Moore: Two million, oh yeah, two Jean Mooney: two Wanda Moore: million. Jean Mooney: million remotes. Wanda Moore: Yeah. Jean Mooney: 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 Aurora Peters: Yeah. Jean Mooney: 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? Ida Ecker: 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. Jean Mooney: Okay. Ida Ecker: Uh Jean Mooney: 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 Aurora Peters: Yeah. Jean Mooney: just only Aurora Peters: I think so. Uh but I have some points. Can I show them on the on the big screen? Jean Mooney: If you Aurora Peters: Maybe? Jean Mooney: have them on uh I Aurora Peters: Yeah. Jean Mooney: can uh Aurora Peters: Yeah, I can find Uh. Jean Mooney: Okay. Jean Mooney: Oh, in case you want it This is a dead kind of fly. Between the the the, yeah, the the uh Aurora Peters: Screen? Jean Mooney: Yeah, be Aurora Peters: Okay. Jean Mooney: The screens. Ida Ecker: Is it possible to open pen drawings in this uh on Jean Mooney: No Ida Ecker: this Jean Mooney: no Ida Ecker: screen? Jean Mooney: no. Only All the drawings go there, at the left uh Ida Ecker: Uh but um which The ones we made on the Jean Mooney: 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. Ida Ecker: Oh, only in Word, okay. Jean Mooney: Yeah. Aurora Peters: Okay, I have some uh points from marketing point of view. Jean Mooney: Yeah. Aurora Peters: 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 Jean Mooney: Yeah. Aurora Peters: other thing is. Um Jean Mooney: Okay. Five minutes. Aurora Peters: Five minutes? Okay, Jean Mooney: Yeah. Aurora Peters: I'll wrap it up quickly. Um I personally think it has to be multi-purpose. Uh most Jean Mooney: Yeah. Aurora Peters: of the remote c uh remote controls are uh just for one purpose. Jean Mooney: Yeah. Aurora Peters: 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. Jean Mooney: Mm-hmm. Aurora Peters: 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. Jean Mooney: Okay. Okay. Aurora Peters: That might be a little bit uh expensive. Um And something like an L_C_D_ screen. Ida Ecker: For what purpose? Aurora Peters: 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 Jean Mooney: Okay. Aurora Peters: coming up or Jean Mooney: So it be uh a multi-purpose uh very technically uh high uh Aurora Peters: From my point Jean Mooney: remote? Aurora Peters: of view, yeah. Jean Mooney: Yeah, it must be really uh innovative, technical-wise? Aurora Peters: Yeah, it has to be uh Yeah, our company is very uh good in making new Jean Mooney: Yeah. Aurora Peters: innovative uh things. Jean Mooney: So yeah, Aurora Peters: So Jean Mooney: I Ida Ecker: We Aurora Peters: i Jean Mooney: I agree Aurora Peters: i Jean Mooney: with you. Aurora Peters: i Jean Mooney: So Aurora Peters: i Jean Mooney: we must focus on things who are really uh really add something to uh to Aurora Peters: To the current market. Jean Mooney: Yeah. Aurora Peters: Look, you got some cheap uh remote controls there. They just uh Yeah, you got a dozen of 'em. Jean Mooney: No. Aurora Peters: But when you enter a new market with a remote control Jean Mooney: Mm-hmm. Aurora Peters: and uh wanna gain market share Jean Mooney: Yeah. Aurora Peters: you have to do something special, Jean Mooney: Yeah. Aurora Peters: I think. Jean Mooney: 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. Aurora Peters: Yeah. Jean Mooney: Uh but we must not uh lose uh sight of the the user uh uh friendly uh Aurora Peters: Yeah, of course. Ida Ecker: And and Aurora Peters: But Ida Ecker: the Aurora Peters: it's Ida Ecker: price. Aurora Peters: But but this is just from marketing uh Jean Mooney: Yeah okay. Aurora Peters: aspect. Jean Mooney: Yeah. Aurora Peters: I don't Jean Mooney: Okay. Aurora Peters: know anything about user interface or Ida Ecker: Okay. Aurora Peters: design. Jean Mooney: And that's because we have him. Wanda Moore: And and him. Ida Ecker: And him. Jean Mooney: 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 Ida Ecker has to look at the technical functions. So Ida Ecker: Yeah. Jean Mooney: that's the Ida Ecker: Um Jean Mooney: thing we uh discussed. Ida Ecker: one Jean Mooney: Yeah? Ida Ecker: 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 Jean Mooney: Okay. Ida Ecker: before we Jean Mooney: Um Aurora Peters: Mm Jean Mooney: wha Aurora Peters: uh I I don't think we have to be, we have to agree on that. Uh Wanda Moore: I figure Aurora Peters: I think Wanda Moore: we could get Aurora Peters: th that's Wanda Moore: back to Aurora Peters: a Wanda Moore: it Aurora Peters: pha Wanda Moore: on the next meeting actually. Aurora Peters: Yeah. That's a phase Ida Ecker: Okay. Aurora Peters: further. Wanda Moore: Yeah. Aurora Peters: Ju just uh make some mock-ups, some some general ideas. Ida Ecker: Ah okay. Aurora Peters: And and then we can plan Yeah. Jean Mooney: Yeah. Aurora Peters: We can plan further, Jean Mooney: Yeah. Aurora Peters: I think. Jean Mooney: 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? Ida Ecker: Consensus Jean Mooney: Uh Ida Ecker: on the, what Jean Mooney: Uh Ida Ecker: we're gonna Jean Mooney: a little Ida Ecker: do. Jean Mooney: 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. Aurora Peters: Mm yeah. I don't Ida Ecker: Yeah. Aurora Peters: know. You decide. Jean Mooney: Okay. Aurora Peters: You're Jean Mooney. Jean Mooney: W He says Ida Ecker: Well yeah, if the technical functions have to be designed, I I've gotta know for what kind of machines Jean Mooney: Yeah. Ida Ecker: they will be. Or do we use it a text screen? Or uh will it be with uh with bluetooth Jean Mooney: Well, Ida Ecker: or Jean Mooney: th that's that's really a step further. But Ida Ecker: Okay. Jean Mooney: if you say uh is it uh uh one way or multi-purpose, Ida Ecker: Mm-hmm. Jean Mooney: that's Aurora Peters: Uh tha Jean Mooney: a Aurora Peters: that's a same step further. Wanda Moore: Yeah, Jean Mooney: Why? Wanda Moore: actually it is. Aurora Peters: Yeah. Jean Mooney: Why? Wanda Moore: Then looking at Aurora Peters: Uh. Wanda Moore: individual components, so Aurora Peters: Yeah. Wanda Moore: that's actually a f step Jean Mooney: Yeah. Wanda Moore: further. Aurora Peters: 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 Jean Mooney: Yeah. Aurora Peters: we decide Wanda Moore: Yeah, we Aurora Peters: w Wanda Moore: can Aurora Peters: what Wanda Moore: take it from Aurora Peters: it's Wanda Moore: there. Aurora Peters: gonna be. Wanda Moore: Yeah, Jean Mooney: Okay. Wanda Moore: I agree Aurora Peters: A Wanda Moore: uh, we can take it from there. Aurora Peters: And then you s then you can delete uh Wanda Moore: Or edit. Aurora Peters: the o the obsolete uh Jean Mooney: Okay. Aurora Peters: details. Jean Mooney: So Aurora Peters: I think. Jean Mooney: uh each individually i individually uh must think on what's uh at uh his point of view is the most important. Aurora Peters: Yeah. Jean Mooney: And uh then we're going to fit uh all the pieces together the next meeting. Aurora Peters: Yeah. Jean Mooney: 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. Wanda Moore: Okay, Ida Ecker: Okay. Jean Mooney: Thank you. Wanda Moore: cheers. Ida Ecker: Sorry. Aurora Peters: Damn. Jean Mooney: Be careful. Ida Ecker: Yes. Aurora Peters: Success? Ida Ecker: Yeah. Ida Ecker: No. Come up.

The participants introduced themselves and their roles to each other. Jean Mooney 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. Jean Mooney 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; Aurora Peters discussed usability features, such as the ability to control multiple devices and an LCD screen, to make the product unique. Jean Mooney instructed Wanda Moore to work on the working design and Ida Ecker to research the technical functions. The group discussed the timing of when they would make decisions on the features discussed.

amisum

train

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

Nikole Hutchings opened the meeting and went over the agenda. Angela Robinson and Kathleen Henderson 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. Sharon Woodhouse 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. Nikole Hutchings led the evaluation of the project process. The group felt that only Kathleen Henderson and Angela Robinson 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 Nikole Hutchings fill in the final report before the close of the meeting.

amisum

train

Carolyn Mills: Hello. Carolyn Mills: Dang it. Jennifer Stanick: And then you have to place your laptop on the marked spot. Carolyn Mills: Alright. Jennifer Stanick: It's important to place your laptop exactly on the marked spot over here. Candace Robison: Okay. Candace Robison: No, that's okay. Candace Robison: your mouse. Carolyn Mills: What? Candace Robison: No mouse needed? Carolyn Mills: I've got a touch-pad. Do you know Candace Robison: Mm. Carolyn Mills: how how I can wake it up? Candace Robison: A touch-pad? Carolyn Mills: No, my laptop. Candace Robison: Slap it. Carolyn Mills: You with your brilliant ideas. I don't know if I can touch the power button. Do you know how how I can wake Candace Robison: Is Carolyn Mills: it up? Jennifer Stanick: No. Yeah. Try the power button. Carolyn Mills: Oh. Come on, move it. Candace Robison: Um Carolyn Mills: Now, wake up, bitch. Jennifer Stanick: Huh. Candace Robison: F_ five. F_ five. Robbie Dumas: I've lost my screen. Uh Carolyn Mills: Yeah, so did I. I closed Candace Robison: I don't. Carolyn Mills: it. That wasn that wasn't very smart, I guess. Get back to Carolyn Mills. Yes. Robbie Dumas: I closed the Carolyn Mills: I closed it. Candace Robison: You've got your name. Jennifer Stanick: Yeah, my name is name. Carolyn Mills: No, I didn't restart it, I just closed it. Yes. Candace Robison: Hope it working. Carolyn Mills: Alright. Robbie Dumas: No. Candace Robison: Never close your laptop. Jennifer Stanick: Yeah? Everybody's ready? Carolyn Mills: Great. Candace Robison: Yeah. Jennifer Stanick: Great. Carolyn Mills: Thanks. Jennifer Stanick: 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. Carolyn Mills: Mm-hmm. Jennifer Stanick: Uh, some of the oje objectives are that is has to be original, trendy, and user-friendly. So Candace Robison: Okay. Jennifer Stanick: 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, Carolyn Mills: Yes. Candace Robison: What Jennifer Stanick: Guido, Candace Robison: is your Robbie Dumas: Yes. Candace Robison: name? Jennifer Stanick: Antek. Robbie Dumas: Antek. Candace Robison: Antek Ahmet. Jennifer Stanick: Okay. Candace Robison: And Jennifer Stanick: I Candace Robison: Joost. Jennifer Stanick: think we uh al already uh Candace Robison: Okay. Jennifer Stanick: been through that part. Candace Robison: Yeah. Jennifer Stanick: 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, Carolyn Mills: Yes. Candace Robison: Yes. Jennifer Stanick: 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 Candace Robison: Can Jennifer Stanick: skip Candace Robison: we see the Jennifer Stanick: through Candace Robison: white-board Jennifer Stanick: th Candace Robison: on our laptops? Jennifer Stanick: No, no. Just on the on the screen over there. Candace Robison: that Jennifer Stanick: Oh, no. Candace Robison: X_B_K_ Jennifer Stanick: Probably is, but I don't Candace Robison: but Jennifer Stanick: know if the software is on the laptop. Is is if it's mainly a thing for in the meeting, so I don't Candace Robison: Okay. Jennifer Stanick: 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. Candace Robison: With that pen? Jennifer Stanick: It's not But it is pen. It's not working like a pen yet. Candace Robison: Mm. Jennifer Stanick: Huh. Jennifer Stanick: Huh. Candace Robison: Mm. Jennifer Stanick: It's doing some stuff now. Candace Robison: Little bit Jennifer Stanick: So Candace Robison: slower. Jennifer Stanick: 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 Carolyn Mills think. Different colours. Oh. Jennifer Stanick: Well, I'm gonna draw um a p piranha. Uh, a fish. Candace Robison: piranha. Okay. Jennifer Stanick: Uh. Jennifer Stanick: Mm-hmm. Candace Robison: Oh. Jennifer Stanick: I'm gonna use some different colour now. Some a little white. Looks like a fish. Think it is. Oh. Jennifer Stanick: Oh. Uh, colour. This is black? I think so. Candace Robison: Yellow Jennifer Stanick: 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. Candace Robison: Hmm. Jennifer Stanick: Okay. What was uh I have su to sum up Candace Robison: Different. Jennifer Stanick: 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. Candace Robison: Okay. Jennifer Stanick: I think that's kind of what uh the intention should be. Well, who wants to be next? Carolyn Mills: Nobody, I guess. Candace Robison: I will Jennifer Stanick: You Candace Robison: try. Jennifer Stanick: go, Guido? Candace Robison: Yeah. Jennifer Stanick: Okay. Candace Robison: I will try. Uh Jennifer Stanick: Uh, make a new sheet. Uh, it's by pressing on blank. Candace Robison: Blank? Jennifer Stanick: Yep. Candace Robison: Okay. Then pen again? Jennifer Stanick: Yep. Candace Robison: Okay. Okay, um Carolyn Mills: Format. Candace Robison: control. Candace Robison: 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 Carolyn Mills: You know, Candace Robison: That's my bird. Carolyn Mills: I thought of that actually. Candace Robison: Yeah? Carolyn Mills: Yeah. Candace Robison: 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. Jennifer Stanick: Well, tell us something about Candace Robison: Ano Jennifer Stanick: uh your favourite characteristics of these uh particular Candace Robison: Uh Jennifer Stanick: birds. Carolyn Mills: Its simplicity. Candace Robison: 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 Jennifer Stanick: Oh, okay. Candace Robison: or something like that. Jennifer Stanick: Okay. Candace Robison: Maybe a little bit. Yeah. I don't know. Jennifer Stanick: Okay. No, uh Candace Robison: So Jennifer Stanick: it's clear. Candace Robison: more uh birds? Jennifer Stanick: N no no. We get your point. Candace Robison: Okay, Jennifer Stanick: Okay. Candace Robison: okay, Jennifer Stanick: Who wants to be next? Candace Robison: okay. Carolyn Mills: Yeah, whatever. I'll go next. Thanks. I haven't Candace Robison: M Carolyn Mills: got a favourite animal too, so Candace Robison: Pictionary. Carolyn Mills: Oh. What should I draw? Candace Robison: A cow. Jennifer Stanick: Oh. Carolyn Mills: Thank you, I'll draw a penguin. Candace Robison: Okay. Carolyn Mills: Yeah. I'll draw a penguin. Whatever. I can't draw, so you can start to laugh already. Jennifer Stanick: I'll do Carolyn Mills: Whatever. Jennifer Stanick: so. Carolyn Mills: Something like that. Carolyn Mills: Come on. Candace Robison: Yeah, it's little bit hard. Carolyn Mills: Mm hmm hmm, orange. Candace Robison: Orange, of course. Carolyn Mills: Whatever. Carolyn Mills: Oh, it's better than your bird. Candace Robison: Uh yeah. Carolyn Mills: Everything's better than your bird. Candace Robison: Yeah. True. Carolyn Mills: Whatever. Hey, it's blue. No. Whatever. Um, I like its ugliness and uh Yeah, whatever. The way it walks or whatever. Jennifer Stanick: Okay. Carolyn Mills: Your turn. Robbie Dumas: 'Kay. Carolyn Mills: Drawing. Robbie Dumas: 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 Jennifer Stanick: Well, you can have a piranha at home. Robbie Dumas: Ye yes, Jennifer Stanick: Huh. Robbie Dumas: yeah. Carolyn Mills: Or a line. Candace Robison: A little Carolyn Mills: I Candace Robison: bit. Carolyn Mills: mean a bird. Candace Robison: Yeah. Don't mess with my birds, yeah. Carolyn Mills: Hmm. It's a handicapped Robbie Dumas: from Carolyn Mills: cat. Robbie Dumas: it. Candace Robison: cat. Jennifer Stanick: I don't think uh I don't think uh Darwin would agree with that. Robbie Dumas: It's Ah, it's not scared. He's crying but Jennifer Stanick: Okay. Carolyn Mills: He's crying because it's ugl because of his ugliness. Jennifer Stanick: What do you like about it then? Robbie Dumas: Uh it's i most cats are small. Jennifer Stanick: Oh, okay. Robbie Dumas: You can handle them. Jennifer Stanick: Okay. Okay. Okay, Candace Robison: Okay. Jennifer Stanick: and then we are uh through the tool training, I guess. Carolyn Mills: I wouldn't call it training, but Jennifer Stanick: 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? Candace Robison: Okay. Carolyn Mills: Alright. Jennifer Stanick: 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 Carolyn Mills about your experiences with the remote controls. Do you have uh know what good experiences with remote controls? Or do they Robbie Dumas: Yes. Jennifer Stanick: annoy you sometimes? Are they difficult to understand, or maybe they don't interact with different kind of uh Candace Robison: Hmm. Jennifer Stanick: equipment Carolyn Mills: I don't Jennifer Stanick: very Carolyn Mills: th Jennifer Stanick: well? Carolyn Mills: I don't think the four of us got problems with remote controls, but Jennifer Stanick: Yeah, Carolyn Mills: if Jennifer Stanick: okay. Carolyn Mills: you see elderly people, all these buttons, and then they buy new Candace Robison: Different. Carolyn Mills: T_V_ because their previous one was stolen or whatever. Jennifer Stanick: Okay. Carolyn Mills: 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 Jennifer Stanick: Different functions Carolyn Mills: Well, Jennifer Stanick: of Carolyn Mills: one Jennifer Stanick: of Carolyn Mills: area or Jennifer Stanick: uh Carolyn Mills: 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 Jennifer Stanick: Okay. Carolyn Mills: other functions totally somewhere else. I Jennifer Stanick: Yeah. Carolyn Mills: think we should group them. And same Jennifer Stanick: Okay. Carolyn Mills: for the for the volume buttons and the Jennifer Stanick: And uh, Carolyn Mills: the Jennifer Stanick: is Carolyn Mills: t Jennifer Stanick: 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 Carolyn Mills: Well Jennifer Stanick: home Carolyn Mills: I was Jennifer Stanick: stereo? Carolyn Mills: I was Candace Robison: Yeah. Carolyn Mills: thinking Jennifer Stanick: Uh Carolyn Mills: uh since a T_V_ is uh mostly used together with a V_C_R_ or D_V_D_ player or Jennifer Stanick: Mm-hmm. Carolyn Mills: recorder, and not with a stereo, Jennifer Stanick: Mm-hmm. Carolyn Mills: I think it should be good to include functions for V_C_R_s and D_V_D_ players, Jennifer Stanick: But uh, Carolyn Mills: recorders. Jennifer Stanick: the D_V_D_ players and home cinema sets often Carolyn Mills: Yeah. Jennifer Stanick: double as stereo hi-fi sets probably. It's what, from Candace Robison: But Jennifer Stanick: my Candace Robison: isn't Jennifer Stanick: experience. Carolyn Mills: I Candace Robison: it Carolyn Mills: don't know. Hi-fi set is uh Jennifer Stanick: Okay. Carolyn Mills: not often used uh as I know of in combination with television. Jennifer Stanick: But we gonna Candace Robison: It's only for television, I thought. Carolyn Mills: Yes. Candace Robison: Not Jennifer Stanick: Oh, it is only for televis Candace Robison: I thought it was only for television. So Carolyn Mills: Yes, it is only for television, Candace Robison: so we Carolyn Mills: but Candace Robison: probably Carolyn Mills: uh Candace Robison: don't Jennifer Stanick: So wha Candace Robison: have Jennifer Stanick: what Candace Robison: to have to uh Carolyn Mills: Well Candace Robison: have Jennifer Stanick: What Candace Robison: the functions Jennifer Stanick: wha Candace Robison: for D_V_D_ player Jennifer Stanick: what Carolyn Mills: well Candace Robison: or Jennifer Stanick: uh Carolyn Mills: we we're Jennifer Stanick: what Carolyn Mills: gonna Candace Robison: V_C_R_. Carolyn Mills: brainstorm Jennifer Stanick: document Carolyn Mills: about that. If we think it's useful, we do it. Jennifer Stanick: But, where where did it uh Where did you find that? Candace Robison: Uh, in the email. Jennifer Stanick: Oh, okay. Carolyn Mills: That's Candace Robison: I thought Carolyn Mills: right. It's a television Candace Robison: it said Carolyn Mills: remote Candace Robison: uh Carolyn Mills: control. But Candace Robison: Yeah, Robbie Dumas: Yes, Candace Robison: television Carolyn Mills: I Candace Robison: remote Carolyn Mills: was thinking Candace Robison: control. Carolyn Mills: since it Jennifer Stanick: Yeah, Carolyn Mills: is Jennifer Stanick: but Carolyn Mills: useful Jennifer Stanick: most Carolyn Mills: with Jennifer Stanick: television Carolyn Mills: D_V_D_ Jennifer Stanick: remote controls support other functions as well. Robbie Dumas: Yes, that's Jennifer Stanick: So we can Robbie Dumas: uh Jennifer Stanick: No, Candace Robison: True. Robbie Dumas: something Jennifer Stanick: we Candace Robison: Yeah. Jennifer Stanick: have to Robbie Dumas: extras. Jennifer Stanick: think about that. Candace Robison: True. Jennifer Stanick: Okay, uh Carolyn Mills: Yep. Jennifer Stanick: but uh we've gonna put some a uh is is it so user-friendliness, is a is a pri priority in this Carolyn Mills: Yeah, Robbie Dumas: Yeah. Jennifer Stanick: case, Carolyn Mills: also Candace Robison: Yeah, Carolyn Mills: no Jennifer Stanick: or Carolyn Mills: one's gonna Candace Robison: yeah. Carolyn Mills: buy it. Jennifer Stanick: Okay. Candace Robison: Yeah. Carolyn Mills: I guess. Robbie Dumas: Only the Candace Robison: True. Robbie Dumas: experts. Jennifer Stanick: Well, Carolyn Mills: Yeah. Jennifer Stanick: 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 Candace Robison: Oh Jennifer Stanick: very Candace Robison: my Jennifer Stanick: important Candace Robison: God. Jennifer Stanick: task for you then. Carolyn Mills: Yeah. Candace Robison: Okay. Jennifer Stanick: Okay. Well, other ideas? How can we make it trendy or something? Do uh by Robbie Dumas: Uh, Jennifer Stanick: just sh shape Robbie Dumas: to go Jennifer Stanick: and the look Robbie Dumas: with Jennifer Stanick: of it? Robbie Dumas: to go with fashion Jennifer Stanick: Maybe Robbie Dumas: and Jennifer Stanick: a can opener underneath it? I don't Candace Robison: For the Jennifer Stanick: know. Candace Robison: bear. Jennifer Stanick: Or someth something Candace Robison: Uh Jennifer Stanick: special, like uh M_P_ three player inside Candace Robison: I Jennifer Stanick: of it, Candace Robison: I uh, no Jennifer Stanick: or uh Candace Robison: I Jennifer Stanick: Oh, Candace Robison: think Jennifer Stanick: well Candace Robison: it Jennifer Stanick: then the production costs are gonna be too high probably. Carolyn Mills: Yeah, Candace Robison: Uh, Carolyn Mills: way Candace Robison: I Carolyn Mills: too Candace Robison: th Carolyn Mills: high. Candace Robison: I think yo we have to keep it simple, to Carolyn Mills: Yep. Candace Robison: get a whole market. It's international, Jennifer Stanick: Okay. Candace Robison: so Jennifer Stanick: Maybe with different Candace Robison: we have Jennifer Stanick: type Candace Robison: to use Jennifer Stanick: of fronts Candace Robison: a standard. Jennifer Stanick: or uh Well, m has to be something Carolyn Mills: Well that's an idea of course, yeah. Jennifer Stanick: spectacular or uh one which makes it We gonna skip back to the goals probably. Uh, Carolyn Mills: Mm-hmm. Jennifer Stanick: original, trendly, and user-friendly Well, we al also already talked about user-friendliness. Candace Robison: Hmm. Jennifer Stanick: No, well something trendy and original, well that that goes hand in hand I guess. Carolyn Mills: Yeah. Jennifer Stanick: 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, Candace Robison: Use Jennifer Stanick: with Candace Robison: friendly. Jennifer Stanick: gogors regards to the user-friendly Candace Robison: Yep. Jennifer Stanick: 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 Carolyn Mills: Yeah. Jennifer Stanick: some gadgetness or something. Carolyn Mills: Yes, what the market wishes. Jennifer Stanick: Okay. Well, the closing. Next meeting starts in thirty minutes. Individual, I think so. The Robbie Dumas will w or the working design, of course, we will uh Already s said that. Candace Robison is it a User Inter Candace Robison: Yeah. Jennifer Stanick: User Candace Robison: Yeah, Carolyn Mills: Yeah. Candace Robison: yeah. Jennifer Stanick: Interface Candace Robison: Interface Jennifer Stanick: the technical Candace Robison: d Jennifer Stanick: functions design. And the Management Expert of uh Carolyn Mills. 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. Carolyn Mills: You just got a message. Jennifer Stanick: Oh, and what does it said? Carolyn Mills: And it said Candace Robison: Oh, I don't Carolyn Mills: uh five minutes, so we Jennifer Stanick: W Carolyn Mills: got four and a half. Jennifer Stanick: Okay, well um Candace Robison: I didn't get a message. Carolyn Mills: No. He's the Candace Robison: Oh, Carolyn Mills: whatever. Candace Robison: the Project Robbie Dumas: Team Candace Robison: Manager. Robbie Dumas: Leader. Jennifer Stanick: No, Carolyn Mills: Team Jennifer Stanick: we're Carolyn Mills: Leader. Jennifer Stanick: uh ahead of schedule then. Carolyn Mills: He is the whatever. Jennifer Stanick: Yeah, close it. I'm Candace Robison: Okay. Jennifer Stanick: gonna make some minutes or take some minutes. And Carolyn Mills: Yes. Jennifer Stanick: uh it's it's clear you can put the stuff in the project documents presentations. Candace Robison: Okay. Jennifer Stanick: You can all Carolyn Mills: Project Jennifer Stanick: Or we're Carolyn Mills: joc Jennifer Stanick: all uh Carolyn Mills: project documents is for showing uh on the white-board. Jennifer Stanick: Yeah. Yeah, Carolyn Mills: Yeah. Jennifer Stanick: but we're all familiar with uh uh Microsoft PowerPoint, are Carolyn Mills: Yes. Jennifer Stanick: we? Candace Robison: Yeah. Jennifer Stanick: Yeah, okay. I'm Carolyn Mills: Alright. Jennifer Stanick: gonna wri uh write some stuff down and then we're ready. Carolyn Mills: Okay. Jennifer Stanick: Or we can leave already I guess. or Carolyn Mills: Yeah. Jennifer Stanick: uh or sh or should we uh or is important that we leave at exact uh Robbie Dumas: No. Carolyn Mills: No. Jennifer Stanick: Okay. Carolyn Mills: I don't think so. Candace Robison: I don't think Carolyn Mills: Yes? Candace Robison: Oh Jennifer Stanick: Yes. Carolyn Mills: Great. Robbie Dumas: Oh. Jennifer Stanick: We'll see each other in uh thirty minutes. Carolyn Mills: Yeah. Good luck. Jennifer Stanick: Yeah, good luck. Candace Robison: I will need it. Carolyn Mills: I will need it.

Carolyn Mills and industrial designer had problems with their laptops. Jennifer Stanick opened the meeting and introduced the project, to design a remote control. The remote should be trendy, original and user friendly. Jennifer Stanick explained how to use the SMARTboard, and the group did a tool training exercise, using the SMARTboard to draw their favourite animals. Jennifer Stanick 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. Jennifer Stanick went over the roles of the participants and closed the meeting.

amisum

train

Jennifer Caylor: Here we go again. Elisabeth Mitchell: My mouse is not working anymore. Jennifer Caylor: Oh. Denise Cheng: Oh. Elisabeth Mitchell: uh Jennifer Caylor: Okay. Elisabeth Mitchell: when I put it in, is is going to beep beep beep. Denise Cheng: Oh, I got a nice little screen over here. I got like this big black border uh on every side. Marlene Mcintyre: Okay. Jennifer Caylor: Mm, okay. Marlene Mcintyre: Everybody ready? Denise Cheng: I'll I'll fix it. Jennifer Caylor: Yeah, Denise Cheng: Yeah, Marlene Mcintyre: Welcome Denise Cheng: whatever. Marlene Mcintyre: at the Jennifer Caylor: it's okay. Marlene Mcintyre: functional design, again presented by Maarten. Uh this is the agenda, the opening. Uh, we've got three presentations. And I'm gonna show you some of the new projects requirements that were sent to Denise Cheng. And we're gonna make a decision on the remote control functions. We have uh forty minutes. Denise Cheng: Yes. Marlene Mcintyre: Oh, well this is the the closing already. So uh well we start off with the th the first presentation then. think Jennifer Caylor: Okay. Marlene Mcintyre: um in we have to do it in uh in right order. Maybe the Denise Cheng: I don't know what the right order is. So Marlene Mcintyre: Well, Jennifer Caylor: No. Marlene Mcintyre: it Elisabeth Mitchell: Huh. Marlene Mcintyre: Oh that. It won't doesn't Maybe we should start with the the technical functions. Elisabeth Mitchell: Okay, how Marlene Mcintyre: Yeah? Elisabeth Mitchell: can I get this on the Marlene Mcintyre: Well it's you Elisabeth Mitchell: whiteboard? Marlene Mcintyre: dumped the file in the Jennifer Caylor: In project. Marlene Mcintyre: uh Elisabeth Mitchell: Okay, Marlene Mcintyre: in the sh in the project Elisabeth Mitchell: I've done Marlene Mcintyre: document Elisabeth Mitchell: that. Marlene Mcintyre: folder. You've already done that? Jennifer Caylor: No Elisabeth Mitchell: Yes. Jennifer Caylor: can that open. Marlene Mcintyre: Well let's close this one. We'll just uh open a new Jennifer Caylor: Open Marlene Mcintyre: one. Jennifer Caylor: it there. Marlene Mcintyre: Uh, well. Yes. Uh-oh. New thing. Oh yeah, uh I have to say something. Uh, due to some uh technical problems I haven't uh digitized the last uh the meeting minutes. But Denise Cheng: Mm-hmm. Marlene Mcintyre: I'll uh make sure that uh happens next time. Jennifer Caylor: Okay. About the Marlene Mcintyre: And Jennifer Caylor: get Marlene Mcintyre: I'll get this one uh in digital uh form too. Elisabeth Mitchell: 'Kay, we're going to um uh talk about working design. Um, the method of the remote control is uh electrical energy, it activates a chip uh in the remote. Elisabeth Mitchell: the television. Mm, it's a nowadays very uh known, a known uh uh technology. Um, the known technology can make a cost very low. Uh, it's a wild uh a wide sale uh of uh remote controls in the world. And and the components are very uh very cheap. Um, Uh, diodes, uh bat batteries and uh uh LED lights, they're needed and they're uh everywhere available. Uh, again, it's a fair price. It's a common uh technology uh, like I told um Uh, the circuit board, it's the most um important uh um part of the remote control. Uh, we can use for that uh fibreglass with copper wires, it's it is uh can be made as fast as printing paper. It's uh it's Marlene Mcintyre: Okay. Elisabeth Mitchell: all very uh Yeah, they're making it uh all the time. Uh, Marlene Mcintyre: Okay. Elisabeth Mitchell: and it's not uh very specialised uh technology. I haven't come to here, but um I've got uh some uh images of uh remote controls. They were not uh very uh trendy or just uh just a remote control like everyone knows. So I don't know uh why I should put it here. Uh Marlene Mcintyre: Okay. But it's the technical side of the remote control. Elisabeth Mitchell: Yes, but uh I uh haven't made it Marlene Mcintyre: Oh. Elisabeth Mitchell: because uh of the time. Marlene Mcintyre: Okay. Elisabeth Mitchell: But Marlene Mcintyre: Well, we'll we'll have to skip that part then. Elisabeth Mitchell: What? Jennifer Caylor: Okay. Marlene Mcintyre: But you don't think it's a problem um to design uh the technical part of the remote control? Elisabeth Mitchell: No. Marlene Mcintyre: It's gonna be easy? Elisabeth Mitchell: Yes. Marlene Mcintyre: Okay. Jennifer Caylor: But nothing restricted for user interface? Marlene Mcintyre: Yeah. Jennifer Caylor: With Elisabeth Mitchell: Um, Jennifer Caylor: technical Marlene Mcintyre: M Elisabeth Mitchell: no, Jennifer Caylor: I don't know. Elisabeth Mitchell: it's uh Marlene Mcintyre: Okay. Elisabeth Mitchell: it's just a part of uh a known technology, yeah. Jennifer Caylor: 'Kay. Elisabeth Mitchell: Remote control is nothing special nowadays. Marlene Mcintyre: R Jennifer Caylor: Okay. Marlene Mcintyre: regardless of what type of functions we want to implement. Doesn't really matter. Elisabeth Mitchell: Um Jennifer Caylor: But I kind of Elisabeth Mitchell: I don't Jennifer Caylor: uh Elisabeth Mitchell: think so, Marlene Mcintyre: Okay. Elisabeth Mitchell: because of Jennifer Caylor: Yes. Elisabeth Mitchell: the all Marlene Mcintyre: Yeah, Elisabeth Mitchell: the Marlene Mcintyre: okay. Elisabeth Mitchell: televisions uh Jennifer Caylor: Uh Elisabeth Mitchell: there are a few maybe a couple of televisions with the new functions, Marlene Mcintyre: Okay. Elisabeth Mitchell: but is it useful to put them on a on a standard uh remote? Marlene Mcintyre: Well, we'll see. We'll see later on. Jennifer Caylor: Well, the technical functions. Um, well I don't know if you got the same uh pictures as I got, Marlene Mcintyre: No. Jennifer Caylor: but Elisabeth Mitchell: No. Jennifer Caylor: uh I got these two, and I think they're we have to focus uh on uh the uh one hand the expert view or the novice user. th I think it's it's very much uh depending on the user requirements, I don't s uh know who's doing Marlene Mcintyre: Well, uh will Jennifer Caylor: t Marlene Mcintyre: there be some uh user requirements later on? Jennifer Caylor: Yeah, Marlene Mcintyre: The ones Jennifer Caylor: but it Marlene Mcintyre: I I've uh received Jennifer Caylor: I think Marlene Mcintyre: from Jennifer Caylor: that's Marlene Mcintyre: the account Jennifer Caylor: very Marlene Mcintyre: manager. Jennifer Caylor: important to watch Marlene Mcintyre: Yeah. Jennifer Caylor: uh what kind of functions there we want to uh put in a remote control. Marlene Mcintyre: Well, we'll keep this in mind, and then discuss it later on. Jennifer Caylor: Yeah, well y we can put functions in it when uh yeah, when we uh get the user requirements Marlene Mcintyre: Uh-huh. Jennifer Caylor: uh and we can Marlene Mcintyre: Okay, Jennifer Caylor: update Marlene Mcintyre: but this Jennifer Caylor: it. Marlene Mcintyre: real this uh big d uh distinction between this type of remote. we should we should choose one uh we should not compromise but uh really choose for uh expert Denise Cheng: Yes, Marlene Mcintyre: viewer or novice Denise Cheng: I agree. Marlene Mcintyre: v Denise Cheng: Yeah. Marlene Mcintyre: Yeah? Well, what that's what you want trying to say. Jennifer Caylor: Well, yeah w if you want try a a a huge market, if you want to reach a huge market, uh like elderly people and we have to choose for Marlene Mcintyre: Okay. Jennifer Caylor: novice user. Marlene Mcintyre: Okay. Jennifer Caylor: But I don't know. It's it's really um Marlene Mcintyre: Yeah, Jennifer Caylor: depending Marlene Mcintyre: well Jennifer Caylor: on how Marlene Mcintyre: some Jennifer Caylor: how Marlene Mcintyre: of Jennifer Caylor: how Marlene Mcintyre: these Jennifer Caylor: far Marlene Mcintyre: Uh, yeah. Jennifer Caylor: the the the remote controls are already in n um Marlene Mcintyre: Well, some Jennifer Caylor: in Marlene Mcintyre: of Jennifer Caylor: use. Marlene Mcintyre: that will Yeah, but i but it will be more clear when we come to the uh u uh some of the new requirements. Jennifer Caylor: Yeah, Denise Cheng: Yes. Jennifer Caylor: probably, Marlene Mcintyre: So Jennifer Caylor: yeah. Uh well, there are l at least uh basic functions, uh like just th the channels uh one till nine, uh on and off switch, which must be clear with a red button or something like that. Um, most standard uh have volume, of course, and a mute function, and, of course, the next and previous channel. I think that's just basic what we need. Marlene Mcintyre: Mm-hmm. Jennifer Caylor: And from that on we can user requirements what we need more. Uh Yeah, I just um um I thought Joost was looking at the trendy the trends in the markets, Denise Cheng: Yes. Jennifer Caylor: and I don't know if there uh are any um uh if you put more functions, more buttons, maybe it's com becoming less trendy or something like that. M you can just Denise Cheng: I haven't really found a Jennifer Caylor: you Denise Cheng: conclusion Jennifer Caylor: can k Denise Cheng: like that. Jennifer Caylor: you can keep it in mind that. Denise Cheng: Yeah. Jennifer Caylor: I don't know. Uh, I th I thought the the with less buttons you can make a more trendier uh Denise Cheng: Design. Jennifer Caylor: yeah, more trendier design, I think. I think. Denise Cheng: Sounds interesting. Jennifer Caylor: Yeah? Uh, well, that's all I have to say, I think. Marlene Mcintyre: Okay. Jennifer Caylor: Yeah, that Denise Cheng: Alright. Jennifer Caylor: was it. Marlene Mcintyre: Well, then Denise Cheng can uh Denise Cheng: Yes. Marlene Mcintyre: tell us something about the current market. Denise Cheng: Yeah. It's alright. Um Denise Cheng: Alright, done some requirements. Um yes. The working method um there were hundred uh uh w h one hundred people, uh how do you say uh, f watched using remote controls in the usability lab and they also uh filled out a questionnaire uh with a few questions. Uh, I've lined them up here. Uh, ask whether um common remote control looks good or not, about willingness to spend money on remote control, about zapping behaviour, and uh and stuff like that. I uh have found some interesting things. We do we do got a market. Um, three out of four people claim m uh to find remote controls ugly. So if we make a trendy design, we sure have seventy fi seventy five percent of the market, which you can reach. Um, three out of four users uh zaps a lot, as I uh quoted here from the uh results. Zap buttons are used one hundred and sixty eight times per hour. That's quite a lot. Um, relevant options are, of course, power buttons. Although, only used once per hour. Uh, channel selection, volume and buttons for text, and the more um, yeah, other functions, like audio settings, video settings, sound settings are not said to be very important and uh very much used. Furthermore, fifty percent says uh they only use ten percent of the buttons on a remote control. That doesn't say we got we can leave ninety percent off. But it sure um says we shouldn't make it too uh complicated. Fifty percent also claims uh to have lost a remote control very often in the room. And um an important thing here, the most important customers uh, which is over seventy percent of our market, is in the age range of thirty six to sixty five years old. And uh elderly people, our market, are less interested in uh nice features, but more willingly to spend more money on remote controls. So, what I was thinking oh, wrong side. We shouldn't implement too much features on uh on our remote control, because elderly people will get th lost. Group features for a higher usability, uh what I was claiming in the previous meeting. Um, all the settings, about audio settings, video settings and channel settings, which are not very often used, we could group them uh on one button and make them accessible uh in one menu button or whatever, because they are used very rarely and well, it uh there are a lot of options there, so we can really make uh yeah, how do you say, we can spare at buttons over there. Marlene Mcintyre: Okay. Denise Cheng: And um, if you want to implement V_C_R_ and D_V_D_ options, group them in the button, not too uh Yeah. Small buttons, so they won't be very um, how do you say Marlene Mcintyre: Visually presents. Denise Cheng: Yes, won't be very present, thank you. And a trendy look, well uh, although seventy percent of the market is uh consists of elderly people uh who don't really care for trendy looks or whatever, I guess it can do no harm to make it trendy for the other thirty percent. That was kind of what I found. Marlene Mcintyre: Okay. Jennifer Caylor: Okay. Denise Cheng: Okay. Marlene Mcintyre: Well, then we I'm gonna show you some of the new project requirements and then we gonna discuss on uh Denise Cheng: Yes. Marlene Mcintyre: what features we find important. Uh, well some of the uh new requirements make some of your findings quite uh irrelevant, I think. Because um uh s decided to put They have decide to put two additional requirements forward. Well, now I see Denise Cheng: Two? Marlene Mcintyre: four. That's kinda strange. Well, they say tele teletext becomes outdated since the popularity of the internet. Well, I think Jennifer Caylor: Well Marlene Mcintyre: that may be so, but well, we can't just leave the teletext button off. Denise Cheng: No Marlene Mcintyre: It's impossible, Jennifer Caylor: No Denise Cheng: uh, Jennifer Caylor: way. Marlene Mcintyre: I Denise Cheng: I Marlene Mcintyre: think. Denise Cheng: agree, I agree. Marlene Mcintyre: So the compromise we could make is just to make one teletext button, you know, like on and off, and don't make a lot of special put a lot of special features on it to Denise Cheng: Not too Marlene Mcintyre: make Denise Cheng: much, Marlene Mcintyre: it transparent Denise Cheng: no. Marlene Mcintyre: or You know, it's just you want you want to be able to make use of teletext, but not to play with it that much. Denise Cheng: Yeah. Marlene Mcintyre: So we have to think of that. The remote control should only be used for television. Otherwise, the project becomes more complex, which endangers the time t t ma uh the time to market. So maybe we should leave all D_V_D_ and V_C_R_ related features Jennifer Caylor: Yeah. Marlene Mcintyre: off completely. Denise Cheng: Okay. Marlene Mcintyre: I don't know. I think that uh that's what they're trying to say. Uh, our current customers are within the age group of forty plus. New products should reach a new market with customers that are younger than forty. So you uh talked about the elderly who were willing Denise Cheng: Mm-hmm. Marlene Mcintyre: to spend more on a remote control and who were interested. But, well, they're not relevant because we are aiming at a younger Denise Cheng: I don't really agree actually, to be honest. It's a very small market which we will approach then if we uh want to reach customers younger than forty. It's only like thirty percent of the total market. Marlene Mcintyre: Yeah, but it is Denise Cheng: Mayb Marlene Mcintyre: it's Denise Cheng: yeah? Marlene Mcintyre: is a dif it's a fact that the th th that bigger market you're talking about, we already cover that. Our company already sells remote control to the older people, but we we also want, you know, a new customer group. That's the one we haven't covered yet. So I think that's what the problem is. We haven't Denise Cheng: Okay. Marlene Mcintyre: got remote controls for uh Well Denise Cheng: Maybe Marlene Mcintyre: I think, yeah. Denise Cheng: maybe we can compromise a little Marlene Mcintyre: Yeah, Denise Cheng: bit. Marlene Mcintyre: I think so. Maybe if Denise Cheng: Not Marlene Mcintyre: it's Denise Cheng: too much then, bu Marlene Mcintyre: no no, Denise Cheng: alright. Marlene Mcintyre: but I think we have to just keep in mind what the older age group wants. So maybe we can make a remote control that's primarily interesting for the younger group, but isn't that bad for an older person either. Denise Cheng: Yes. Marlene Mcintyre: Uh, our corporate image sh should stay recognisable in our products. Okay, something else nice to Jennifer Caylor: But Marlene Mcintyre: know. Jennifer Caylor: what's our slogan? Marlene Mcintyre: Sorry? Yeah, Jennifer Caylor: The slogan uh Marlene Mcintyre: you will have to look that up. Denise Cheng: Yeah, I'll have a look. We Marlene Mcintyre: I Denise Cheng: put Marlene Mcintyre: think it's Denise Cheng: the Jennifer Caylor: Puts Marlene Mcintyre: something Denise Cheng: fashion Jennifer Caylor: fashion Marlene Mcintyre: about Jennifer Caylor: in Denise Cheng: in Marlene Mcintyre: the Denise Cheng: electronics. Jennifer Caylor: electronics. Marlene Mcintyre: Oh, okay. I thought it w might be, let's make things better or something, but Denise Cheng: Sense Jennifer Caylor: Sense Denise Cheng: and simplicity. Jennifer Caylor: simplicity. Marlene Mcintyre: Okay well, let's go back to the the agenda. So we've now had to the three presentations. We know about the new project requirements. That means we can uh well d yeah, discuss on the remote control functions. Well, if I can uh make a start, I think it's becoming more clear what kind of remote control it's gonna be, and I already talked about the maybe you have a f familiar with the rem remote control that has the the can opener underneath it. I think we're we're looking for some Yeah, we we're looking for a really simple remote control with only basic T_V_ functions. Y Jennifer Caylor: Yeah. Denise Cheng: Well, Marlene Mcintyre: well, Denise Cheng: to Marlene Mcintyre: that Denise Cheng: be honest, if um our uh aim group is uh till forty, not Marlene Mcintyre: Yeah. Denise Cheng: older than forty, maybe that's not very uh yeah, we don't really need Marlene Mcintyre: Yeah. Denise Cheng: to have a simple remote control. I think we can implement more functions then, because um Jennifer Caylor: Yeah, but Denise Cheng: basically Jennifer Caylor: wha Denise Cheng: uh the younger people are more able to adapt to new technology and therefore Marlene Mcintyre: Yeah, yeah. M Denise Cheng: will be a more Marlene Mcintyre: yeah, that's Jennifer Caylor: But Marlene Mcintyre: why um well a lot of um the use the requirements the the account manager sent Denise Cheng, I think they are are c are contradicting each other, because they want a simpler design, Denise Cheng: Yes. Marlene Mcintyre: and no uh other uh s functions than just T_V_, but they s do aim at a younger Jennifer Caylor: Yeah, but you Marlene Mcintyre: Well, Denise Cheng: Yeah. Jennifer Caylor: sai Marlene Mcintyre: ma Jennifer Caylor: you said that that a lot of functions aren't used. So why should j we put this function in? Denise Cheng: Well, Jennifer Caylor: I Denise Cheng: I Jennifer Caylor: think Denise Cheng: think Jennifer Caylor: more I think uh people younger people are more looking for just a trendy look than uh more functions. Marlene Mcintyre: But I think uh you we can make some discuss uh distinctions in uh what kin in the, know, th th in functions you have Y Well you have different kind of uh equipment in your room, like a t Denise Cheng: Yes. Marlene Mcintyre: T_V_ and a D_V_D_ player. You can uh, know, you you can make very d you can put very detailed functions regarding the T_V_ set on your remote control uh with the with uh the, you know, audio settings and uh v uh screen settings. We don't want that. I think that was that became clear. We don't want. But w maybe we should put some func uh, I know that the younger people will most likely have a D_V_D_ player they want to, you know, they want to Denise Cheng: Yeah, Marlene Mcintyre: uh Jennifer Caylor: Yeah, but Denise Cheng: control. Jennifer Caylor: uh you Marlene Mcintyre: control, Jennifer Caylor: said Yeah, Marlene Mcintyre: remotely. Jennifer Caylor: d yeah, but th the functions are not in the remote control we're making. Marlene Mcintyre: No, yeah, th Jennifer Caylor: It's Marlene Mcintyre: th the Jennifer Caylor: n Marlene Mcintyre: user requirements of the the The new project requirements told Jennifer Caylor: Yeah. Marlene Mcintyre: us not to But maybe w Yeah. Jennifer Caylor: Yeah. Marlene Mcintyre: I think we maybe should Yeah, well we should uh put some functions for other maybe for other equipment on it. But just the basic functions. Maybe like rewind and wind, or n what d what Elisabeth Mitchell: But Marlene Mcintyre: do Denise Cheng: Not Elisabeth Mitchell: you Marlene Mcintyre: you Elisabeth Mitchell: can Marlene Mcintyre: guys Denise Cheng: much Elisabeth Mitchell: put Denise Cheng: more Marlene Mcintyre: think? Elisabeth Mitchell: them Denise Cheng: than Elisabeth Mitchell: under Denise Cheng: that. Elisabeth Mitchell: the same button. Denise Cheng: Yep. Marlene Mcintyre: Yeah, if as far as possible. Denise Cheng: Or we can u u we could put 'em behind the flip-flap or whatever. So Marlene Mcintyre: But what Denise Cheng: t Marlene Mcintyre: do you think? Do th should we implement features that uh uh or functions that to control other devices? Jennifer Caylor: No. Marlene Mcintyre: No, you don't think Jennifer Caylor: No, Marlene Mcintyre: so? Jennifer Caylor: new requirements say Marlene Mcintyre: Yeah, Jennifer Caylor: no. Marlene Mcintyre: the new requirements say so. Jennifer Caylor: So Elisabeth Mitchell: But you can put a play and stop and and Marlene Mcintyre: Well, maybe Elisabeth Mitchell: rewind. Marlene Mcintyre: it's maybe Denise Cheng: Yeah. Marlene Mcintyre: there Jennifer Caylor: Yeah, Marlene Mcintyre: there there is Jennifer Caylor: but Marlene Mcintyre: something th m most of the time these functions don't support the particular device as well as their their own remote control. You know, a lot of D_V_D_ players have some tricky Elisabeth Mitchell: Yes, but Marlene Mcintyre: settings Elisabeth Mitchell: we Denise Cheng: Y yes. Marlene Mcintyre: with Jennifer Caylor: I i if it's too simple uh th they won't use the remote control, Marlene Mcintyre: Yep, Jennifer Caylor: they Marlene Mcintyre: exactly. Jennifer Caylor: use their own th th with Marlene Mcintyre: That's Jennifer Caylor: lot Marlene Mcintyre: that's Jennifer Caylor: more Denise Cheng: But Marlene Mcintyre: wha Jennifer Caylor: functions. Denise Cheng: but for for example, V_C_R_, that's better example in this case. Marlene Mcintyre: No no, you Jennifer Caylor: No, Marlene Mcintyre: don't Jennifer Caylor: no. Elisabeth Mitchell: Huh. Marlene Mcintyre: No no, you Jennifer Caylor: Exactly. Marlene Mcintyre: don't need it. No, no. Denise Cheng: just play, stop, rewind and uh fast Marlene Mcintyre: Okay, Denise Cheng: forward. Marlene Mcintyre: but we have to think uh w we have to think D_V_D_ I th Denise Cheng: Yeah, Marlene Mcintyre: uh, Denise Cheng: I know, but Marlene Mcintyre: I Denise Cheng: uh Marlene Mcintyre: guess, so um but uh from my experience it's kinda a lot of D_V_D_ players, you know, like forwarding, goes differently. Uh, you get two speed or eight speed or sixteen speed. Jennifer Caylor: Mm, yeah. Marlene Mcintyre: It's c sometimes a bit difficult. Maybe if we just leave the D_V_D_ functional m uh Well, I was thinking about putting it in, but concerning the project requirements and what you just Denise Cheng: Yes. Marlene Mcintyre: said, I Jennifer Caylor: Yeah, Marlene Mcintyre: think we m Jennifer Caylor: but just Marlene Mcintyre: should focus on the T_V_ then. Jennifer Caylor: keep it simple and look more at Marlene Mcintyre: And Jennifer Caylor: th Marlene Mcintyre: uh and it's just an uh a complimentary remote and not a universal one. If you want to Jennifer Caylor: No. Marlene Mcintyre: keep it simple, you can make a universal remote. Jennifer Caylor: It's only for television. Marlene Mcintyre: Okay. Jennifer Caylor: So Elisabeth Mitchell: Yes, Marlene Mcintyre: It's Elisabeth Mitchell: but Marlene Mcintyre: just Elisabeth Mitchell: there are Marlene Mcintyre: a s it Elisabeth Mitchell: there Marlene Mcintyre: it should Elisabeth Mitchell: are Marlene Mcintyre: be something that is like a gadget on your coffee table, and it's just for when you you you jump on the couch, you pick up the Jennifer Caylor: Yeah. Marlene Mcintyre: the the nice remote, the simple one, just Denise Cheng: Yeah. Marlene Mcintyre: to put on the television, Jennifer Caylor: Yeah, Marlene Mcintyre: nothing more. Jennifer Caylor: nothing more. Marlene Mcintyre: Okay. Jennifer Caylor: Exactly. Denise Cheng: Alright. Marlene Mcintyre: Um, but Elisabeth Mitchell: But Marlene Mcintyre: what Elisabeth Mitchell: how wi how Marlene Mcintyre: televis Elisabeth Mitchell: will you be able to handle a whole market? There are uh a dozen of uh dozens of of remote controls Marlene Mcintyre: Yeah, we Elisabeth Mitchell: that Marlene Mcintyre: we'll Elisabeth Mitchell: have Marlene Mcintyre: make w this one trendy. Jennifer Caylor: Yeah. Marlene Mcintyre: And Jennifer Caylor: The Marlene Mcintyre: simple. Well, Jennifer Caylor: user Marlene Mcintyre: we we Jennifer Caylor: interface Marlene Mcintyre: will come to that, Jennifer Caylor: is Marlene Mcintyre: but Jennifer Caylor: easy. Marlene Mcintyre: ju first on the on the functions. So we should put uh zap buttons on it. Um, also Jennifer Caylor: And the Marlene Mcintyre: numbers, Jennifer Caylor: basic Marlene Mcintyre: to uh to Jennifer Caylor: yeah, Marlene Mcintyre: go to Jennifer Caylor: basic Marlene Mcintyre: the specific Jennifer Caylor: functions, Denise Cheng: Yes, Marlene Mcintyre: channels. Jennifer Caylor: yeah. Denise Cheng: definitely, yeah. Marlene Mcintyre: Uh, Jennifer Caylor: It's too much integrated Marlene Mcintyre: Okay, Jennifer Caylor: in Marlene Mcintyre: a Jennifer Caylor: the Marlene Mcintyre: t a Jennifer Caylor: other. Marlene Mcintyre: teletext button should be there. But Jennifer Caylor: Yeah. Marlene Mcintyre: just one big teletext button, on and off. Probably. Denise Cheng: Yeah, and maybe two or three other options, but not nothing more than that. I think stop function is very useful. If you have a uh a page which consists of more pages, and you are not a very quick reader, Marlene Mcintyre: Oh, Denise Cheng: then Marlene Mcintyre: okay. Denise Cheng: I think it's very irritating if Marlene Mcintyre: Yeah, Denise Cheng: the next Marlene Mcintyre: but uh Denise Cheng: page Marlene Mcintyre: I think Denise Cheng: shows Marlene Mcintyre: that Denise Cheng: up, Marlene Mcintyre: becomes Denise Cheng: but Marlene Mcintyre: too difficult, it's not a very common function and people Denise Cheng: Well, Marlene Mcintyre: will have Denise Cheng: I use Marlene Mcintyre: to read Denise Cheng: it Marlene Mcintyre: up Denise Cheng: very Marlene Mcintyre: on Denise Cheng: regularly, Marlene Mcintyre: their remote Denise Cheng: the action. Marlene Mcintyre: then. Denise Cheng: I re I use it Marlene Mcintyre: Yeah, yeah, but maybe Denise Cheng: quite often. Marlene Mcintyre: you s yeah yeah, maybe y you do, but Jennifer Caylor: Will Marlene Mcintyre: I've never Jennifer Caylor: you look Marlene Mcintyre: heard of it in the first place. And we have to well Jennifer Caylor: Look at the market. Marlene Mcintyre: t yeah, and t and teletext is becoming outdated. We just want to see what programmes are on and what time it is probably. Yeah. I don't know. I think that that's kin getting too complex for our remote. Jennifer Caylor: Well Marlene Mcintyre: I don't Denise Cheng: Might Marlene Mcintyre: know what Denise Cheng: be. Marlene Mcintyre: you Denise Cheng: Might Marlene Mcintyre: th guys think. Denise Cheng: be. Jennifer Caylor: Yeah, I uh, it's Sunday I always use it for the uh yeah, for the soccer uh Marlene Mcintyre: Yeah, but do you like to have a such a s stop button? Or do you think it uh I think it's a kind of uh uh Jennifer Caylor: Well, Marlene Mcintyre: very Jennifer Caylor: uh Marlene Mcintyre: rare and Jennifer Caylor: when Marlene Mcintyre: special Jennifer Caylor: you uh Marlene Mcintyre: function. Jennifer Caylor: uh when you look uh for example um, a couple of weeks ago I looked at the for the flights, and Marlene Mcintyre: Yeah. Jennifer Caylor: there are a lot of flights Marlene Mcintyre: Okay, Jennifer Caylor: in Marlene Mcintyre: it Jennifer Caylor: one Marlene Mcintyre: goes Jennifer Caylor: page, Marlene Mcintyre: Yeah, but Jennifer Caylor: so Marlene Mcintyre: that's Jennifer Caylor: if Marlene Mcintyre: kind of Jennifer Caylor: if Marlene Mcintyre: stuff Jennifer Caylor: th Marlene Mcintyre: we should do on the internet right now. That's Elisabeth Mitchell: Yes, Marlene Mcintyre: why Elisabeth Mitchell: but you Marlene Mcintyre: it was Elisabeth Mitchell: could Jennifer Caylor: Yeah, Marlene Mcintyre: uh Elisabeth Mitchell: put Marlene Mcintyre: said Jennifer Caylor: but Marlene Mcintyre: in the in the use in the r Elisabeth Mitchell: on Marlene Mcintyre: new requirements. Elisabeth Mitchell: the z on the zap buttons you can put it to uh to uh access all the same pages. If you have Marlene Mcintyre: Well Elisabeth Mitchell: seven Marlene Mcintyre: yeah uh, Elisabeth Mitchell: pages, Marlene Mcintyre: lots of Elisabeth Mitchell: you Marlene Mcintyre: new Elisabeth Mitchell: can Marlene Mcintyre: televisions Elisabeth Mitchell: go up and down. Marlene Mcintyre: can store pages, you know, and Elisabeth Mitchell: Yes. Marlene Mcintyre: then you can just skip manually through them using Jennifer Caylor: True. Marlene Mcintyre: I think we should just put one teletext button on it. Then we meet uh the new requirements. we also meet the other thin y you sh you just re we have to choose for the the simple design, I Jennifer Caylor: A simple Marlene Mcintyre: guess. Jennifer Caylor: yeah. Marlene Mcintyre: Okay. Um, well, what functions do we have to decide on? Or do we uh I dunno if we have t stif specifically name all the functions we n we want. We have the zap and uh the volume. Should we do m make them very big? The the the zap button. D Denise Cheng: I Marlene Mcintyre: d Denise Cheng: think Elisabeth Mitchell: Yes. Denise Cheng: the plus and the minus button Marlene Mcintyre: Th that's Denise Cheng: should Marlene Mcintyre: that's Denise Cheng: be uh Marlene Mcintyre: that's considered to be Jennifer Caylor: But Marlene Mcintyre: trendy Denise Cheng: quite present, Marlene Mcintyre: also. Jennifer Caylor: trendy, yeah. Denise Cheng: yep. Jennifer Caylor: I don't Marlene Mcintyre: Or Jennifer Caylor: know. Marlene Mcintyre: maybe you should place them on a uh, Elisabeth Mitchell: Maybe Marlene Mcintyre: in a special Elisabeth Mitchell: we can make Marlene Mcintyre: way? Elisabeth Mitchell: uh a kind of a joystick. Marlene Mcintyre: Yeah, something or uh somethin special way to to zap through the it has to s it has to be yeah, Jennifer Caylor: Original. Marlene Mcintyre: and quick. You have Jennifer Caylor: It was uh Marlene Mcintyre: to use it very quickly. Denise Cheng: Yep. Jennifer Caylor: True. Denise Cheng: If you grab the remote, your hands should be on top Marlene Mcintyre: Yeah, Denise Cheng: of the plus. Marlene Mcintyre: and it the buttons should make it um possible to to zap through your channels in a rapid at a rapid pace. Denise Cheng: Yes. Marlene Mcintyre: Oh, what should we decide on then? I Elisabeth Mitchell: But Marlene Mcintyre: think in a in a case Jennifer Caylor: Yeah. Marlene Mcintyre: of this simple remote control, the technical aspects which uh weren't worked out already, but it w shouldn't be a problem then. Elisabeth Mitchell: No, it's o just signals uh Marlene Mcintyre: Yep. Jennifer Caylor: Maybe Elisabeth Mitchell: and Jennifer Caylor: uh Elisabeth Mitchell: the television d uh does the rest. Marlene Mcintyre: No, okay, but we don't have to uh, when we don't want to uh control other devices, I think Elisabeth Mitchell: No. Marlene Mcintyre: it makes it even more simple. Jennifer Caylor: Uh maybe we uh uh the batteries maybe. If you use large batteries or small batter batteries. Elisabeth Mitchell: The most Marlene Mcintyre: I think Elisabeth Mitchell: standard batteries. Marlene Mcintyre: I think Denise Cheng: I Marlene Mcintyre: that Denise Cheng: think Marlene Mcintyre: we Jennifer Caylor: Yeah? Marlene Mcintyre: should Denise Cheng: double Marlene Mcintyre: use Denise Cheng: A_. Marlene Mcintyre: uh d yeah, not Denise Cheng: Yep. Marlene Mcintyre: not uh the b the watch kind th the most uh Well, it has to be simple, and I Jennifer Caylor: Yeah. Denise Cheng: The Marlene Mcintyre: wi Denise Cheng: most ordinary uh Marlene Mcintyre: Which are most likely Denise Cheng: batteries. Marlene Mcintyre: to be found somewhere in Jennifer Caylor: Okay. Marlene Mcintyre: the house, you know. Denise Cheng: Yep. Marlene Mcintyre: Oh. How much time do we ha we have left uh? M Denise Cheng: I Marlene Mcintyre: m Denise Cheng: think Marlene Mcintyre: m more Denise Cheng: about Marlene Mcintyre: than thirty Denise Cheng: twenty minutes. Marlene Mcintyre: minutes? Uh ten twenty minutes. Elisabeth Mitchell: But Marlene Mcintyre: Well, Elisabeth Mitchell: i Jennifer Caylor: Early Marlene Mcintyre: uh these Jennifer Caylor: break. Marlene Mcintyre: these shouldn't Elisabeth Mitchell: in a way we have to be uh uh special. Marlene Mcintyre: Yeah. Yeah, okay. But that's that's Do you uh have you have you think about tha thought about that? How we can what the extra touch can be. Elisabeth Mitchell: Maybe Marlene Mcintyre: Do you suggest Elisabeth Mitchell: th m Marlene Mcintyre: design or the shape or some gadget f f kind of feature or Well, it was something about how we lose them. Maybe it should be a remote control when you you clap you hands it makes some noise or some gadget kind of thing. Denise Cheng: I think Jennifer Caylor: To Denise Cheng: that's Jennifer Caylor: find Denise Cheng: n Jennifer Caylor: him. Denise Cheng: that's more Marlene Mcintyre: Yeah. Denise Cheng: for Jennifer Caylor: That's Denise Cheng: a Jennifer Caylor: maybe yeah. Denise Cheng: for an age range or uh ten to twelve or whatever. Marlene Mcintyre: I don't know. I don't know. Nah, um a lot of people like to have such kind kind of kind of gay kind of things. It w it w should be like a birthday present or something that you give Denise Cheng: Yeah, Marlene Mcintyre: someone, and it is Denise Cheng: yeah, Marlene Mcintyre: i Denise Cheng: that's Marlene Mcintyre: has Denise Cheng: good Marlene Mcintyre: something Denise Cheng: one, Marlene Mcintyre: nice. Jennifer Caylor: Yeah. Denise Cheng: yep. Marlene Mcintyre: Or maybe it w should have a big uh light that can flash or something on it, or maybe it should or an or the like the the can opener. Maybe it contains some feature that you don't normally link to a remote control. I think it's very impor because we're gonna make such a basic Jennifer Caylor: Yeah. Marlene Mcintyre: remote control, we have to do something to make it special. It's gonna cost twenty five Euros. Denise Cheng: Ye I think the can opener i is a brilliant idea actually, because Marlene Mcintyre: Yeah, but Jennifer Caylor: Yeah, Marlene Mcintyre: the Jennifer Caylor: but Marlene Mcintyre: well, Denise Cheng: television Jennifer Caylor: that's Marlene Mcintyre: it's already been Denise Cheng: and Marlene Mcintyre: done. Denise Cheng: beer Jennifer Caylor: yeah. Denise Cheng: is not a rare combination. Marlene Mcintyre: Nah. Yeah, that's true. But and I think it's gonna be uh very uh it has to be sturdy or something, so maybe with Denise Cheng: Yes. Marlene Mcintyre: with bouncing pads so that you can just throw it on the floor or something. it Jennifer Caylor: Yeah. Marlene Mcintyre: has to be used something special, Denise Cheng: Yep. Marlene Mcintyre: and you really it has to, you know y not s people, when they buy it, they have to think, well this one lasts for a long time. We're really gonna use them. Not some thing you you throw away next week, you know. Denise Cheng: No, that's true. Marlene Mcintyre: So maybe uh that's i I think that's when uh when we decide on these type of functions, know, basic functions, uh it's very important to find something like this. So there's a very important task for you. And maybe we can all think Jennifer Caylor: Be Marlene Mcintyre: about Jennifer Caylor: original, Marlene Mcintyre: it. Jennifer Caylor: yeah. Marlene Mcintyre: Uh, also for you maybe, when t you it's very nice when you can be entra when you can be trendy, and and Jennifer Caylor: Mm-hmm. Marlene Mcintyre: uh and al as in a Jennifer Caylor: And Marlene Mcintyre: friend Jennifer Caylor: use Marlene Mcintyre: use Jennifer Caylor: friendly, Marlene Mcintyre: friendly as well, Jennifer Caylor: yeah. Marlene Mcintyre: you know. So Jennifer Caylor: Yeah. Marlene Mcintyre: big buttons, flashy design, Denise Cheng: Yeah. Marlene Mcintyre: and maybe some kind of gadget kind of thing. Jennifer Caylor: Must Marlene Mcintyre: Uh-huh. Denise Cheng: Yeah, Jennifer Caylor: brain-storm. Denise Cheng: a swapable front or whatever. Marlene Mcintyre: Yeah, or just different colours would be uh I don't know if people also wanna spend more money on fronts for their uh Jennifer Caylor: Well Elisabeth Mitchell: For Marlene Mcintyre: remote Elisabeth Mitchell: the remote Marlene Mcintyre: control. It Elisabeth Mitchell: control. Marlene Mcintyre: could be be Yeah, you never know, but Jennifer Caylor: Why not? Denise Cheng: Yeah. Jennifer Caylor: More money for us. Marlene Mcintyre: But it and Jennifer Caylor: Yeah. Marlene Mcintyre: I think we have to make it quite big. Jennifer Caylor: Quite big. Denise Cheng: Yes, Jennifer Caylor: Yeah, Marlene Mcintyre: Yeah, Jennifer Caylor: you Denise Cheng: definitely, Jennifer Caylor: think? Denise Cheng: definitely. Elisabeth Mitchell: That's Marlene Mcintyre: people Elisabeth Mitchell: to be uh Marlene Mcintyre: So, Elisabeth Mitchell: a Marlene Mcintyre: and and Elisabeth Mitchell: formed Marlene Mcintyre: also Elisabeth Mitchell: for Marlene Mcintyre: because Elisabeth Mitchell: your hand. Marlene Mcintyre: uh it is expensive. If you want it to be something, you know, it's ha doesn't have much functions want to be Denise Cheng: Yes, Marlene Mcintyre: you Denise Cheng: it Marlene Mcintyre: don't want to Denise Cheng: it Marlene Mcintyre: get Denise Cheng: it Marlene Mcintyre: it l Denise Cheng: should be Marlene Mcintyre: make Denise Cheng: f Marlene Mcintyre: it Denise Cheng: be visible nearly anywhere in the room. As I uh as I said during my Marlene Mcintyre: Mm-hmm. Denise Cheng: presentation, fifty percent Marlene Mcintyre: And Denise Cheng: uh Marlene Mcintyre: shou and should ni Denise Cheng: o Marlene Mcintyre: look nice when you put it on a table. I I think you m might wanna put it Jennifer Caylor: A Marlene Mcintyre: uh Jennifer Caylor: standard or Marlene Mcintyre: yeah, Jennifer Caylor: something. Marlene Mcintyre: that it it it it stands up. Denise Cheng: Yeah. Marlene Mcintyre: Yeah, you have to put it on its So it's like a vase or uh something you put on a table. Denise Cheng: A face? Or uh yeah, Marlene Mcintyre: no Denise Cheng: yeah. Marlene Mcintyre: no, Denise Cheng: Yeah. Elisabeth Mitchell: More Marlene Mcintyre: put Elisabeth Mitchell: like Marlene Mcintyre: stuff Elisabeth Mitchell: a joystick Marlene Mcintyre: inside it. But, Elisabeth Mitchell: then. Marlene Mcintyre: it's like like a statue or something Denise Cheng: Yeah, yeah, I see what you Jennifer Caylor: It's Denise Cheng: mean, Jennifer Caylor: like you have Denise Cheng: yep. Jennifer Caylor: uh four phones. Marlene Mcintyre: Yeah yeah, but Jennifer Caylor: Something Marlene Mcintyre: yeah, but you Jennifer Caylor: like that. Marlene Mcintyre: also can put it somewhere Denise Cheng: If you do that, but Marlene Mcintyre: near Denise Cheng: I don't Marlene Mcintyre: the window Denise Cheng: know Marlene Mcintyre: in Denise Cheng: if that's possible Marlene Mcintyre: That it's Denise Cheng: within Marlene Mcintyre: it's Denise Cheng: the Marlene Mcintyre: fashionable. Denise Cheng: production cost of twelve and a half Euros. Marlene Mcintyre: I I don't Denise Cheng: I in in the base we could like make uh a button, and if you push it, the remote control itself s makes noise. Marlene Mcintyre: Oh, Denise Cheng: That's Marlene Mcintyre: yeah. Denise Cheng: probably stupid, but uh as I found here uh, fifty percent, was it fifty? Elisabeth Mitchell: But that's Denise Cheng: Uh Elisabeth Mitchell: that's Denise Cheng: fifty Elisabeth Mitchell: fun Denise Cheng: percent Elisabeth Mitchell: for the first time, and then Denise Cheng: fifty Elisabeth Mitchell: the second Denise Cheng: percent often loses remote control. Marlene Mcintyre: Yeah, but but when you when it gets lost, how can you press the button to make Denise Cheng: No Marlene Mcintyre: it Denise Cheng: uh, of the base the the the Marlene Mcintyre: Oh, Denise Cheng: the Marlene Mcintyre: okay. Denise Cheng: the Jennifer Caylor: On the television. Denise Cheng: the the thing you put it in. Jennifer Caylor: Oh, like Marlene Mcintyre: Uh, Jennifer Caylor: this. Marlene Mcintyre: that's Denise Cheng: If Marlene Mcintyre: kind Denise Cheng: an Marlene Mcintyre: of nice. Denise Cheng: a button in in that Elisabeth Mitchell: Or you Marlene Mcintyre: And Denise Cheng: uh Elisabeth Mitchell: can Marlene Mcintyre: then also you don't even need batteries, because you can make it uh chargeable. Jennifer Caylor: A char chargeable. Denise Cheng: Yeah, you Elisabeth Mitchell: Yeah. Denise Cheng: can Jennifer Caylor: Yeah. Denise Cheng: ma make rechargeable one, yeah. Marlene Mcintyre: Yeah, Denise Cheng: Why Marlene Mcintyre: that Denise Cheng: not. Marlene Mcintyre: w yeah, but yeah, the pro No, well I think that it might Jennifer Caylor: Why Marlene Mcintyre: be Jennifer Caylor: not. Marlene Mcintyre: t p Well, nee but we don't Yeah. Maybe you, but we don't know much about production cost, but when you you can imagine that when you spend twenty five Euros on a remote control and it's a basic Elisabeth Mitchell: With recharger. Marlene Mcintyre: remote control, then the then the money there must be money to spend on that kind of st you know, rechargeable Denise Cheng: It should only Marlene Mcintyre: units. Denise Cheng: cost twelve and a half Euros, of course. Aye? Marlene Mcintyre: Yeah, but we would d ma Jennifer Caylor: Production. Marlene Mcintyre: we'd do it in Taiwan and So, it's not gonna be that expen Denise Cheng: Yeah, okay. Jennifer Caylor: It should be Marlene Mcintyre: Uh Jennifer Caylor: possible. Marlene Mcintyre: I I think it's a great idea. Jennifer Caylor: a good idea. Denise Cheng: Yeah. Marlene Mcintyre: S some kind of be Jennifer Caylor: To make Marlene Mcintyre: I've Jennifer Caylor: a Marlene Mcintyre: never Jennifer Caylor: base Marlene Mcintyre: seen that Jennifer Caylor: or Marlene Mcintyre: before, Jennifer Caylor: something? Marlene Mcintyre: and you make it uh um be uh, you see it with uh the mo the mouses nowadays. Denise Cheng: Yes. Yes, definitely. Yeah. Elisabeth Mitchell: Yes, but is that handy? Marlene Mcintyre: Well, I well it's really ch you can recharge it, so you ha never have the battery Jennifer Caylor: It's Marlene Mcintyre: problem. Jennifer Caylor: it's Marlene Mcintyre: That's Jennifer Caylor: it's Marlene Mcintyre: one. Jennifer Caylor: it's Marlene Mcintyre: And uh you can always Elisabeth Mitchell: But Marlene Mcintyre: find Jennifer Caylor: it's not Marlene Mcintyre: your Elisabeth Mitchell: but Jennifer Caylor: the Marlene Mcintyre: remote Jennifer Caylor: purpose Marlene Mcintyre: control Elisabeth Mitchell: remote Jennifer Caylor: to Marlene Mcintyre: up Jennifer Caylor: be handy, Elisabeth Mitchell: controls Jennifer Caylor: it's Elisabeth Mitchell: remote controls nowadays can can last uh two years, three years, with with t two batteries. Marlene Mcintyre: Uh, okay. Well, maybe yeah, you could Elisabeth Mitchell: And Marlene Mcintyre: when Elisabeth Mitchell: then Marlene Mcintyre: that's Elisabeth Mitchell: you Marlene Mcintyre: when it's too costly, you could probably skip the recharger, but you will you do need uh also an uh, also you would need a battery in the the base unit as well, you know. Does Elisabeth Mitchell: Yes. Marlene Mcintyre: it makes Denise Cheng: Well Marlene Mcintyre: it kinda Denise Cheng: y Elisabeth Mitchell: Or Denise Cheng: you you could connect that to two hundred to twenty volts, of course. Jennifer Caylor: Mm. Marlene Mcintyre: Yeah, Denise Cheng: I Marlene Mcintyre: yeah. Denise Cheng: don't know. Marlene Mcintyre: Okay. Jennifer Caylor: Yeah, Marlene Mcintyre: Yeah. Jennifer Caylor: but that's not it's ugly, Marlene Mcintyre: Yeah, but Jennifer Caylor: I think. Marlene Mcintyre: then it's very easy to make it also a rechargeab I don't think that is gonna cost much to make it also a recharge Jennifer Caylor: No. Marlene Mcintyre: function in it. Denise Cheng: On the other hand, if you don't do it, we can also make a nice bay. I mean, it looks trendy and still still put a bleep function in it, but Marlene Mcintyre: Yeah. Denise Cheng: um I think the bay is definitely uh Marlene Mcintyre: I think it's a good idea. And make it, you know, we we um Well, we uh it's it isn't a t a most uh costly uh remote control. We can save on the on the functions. We just put some simple button in, make it big and sturdy, nothing more, and just make s sure there's some noise that it can make, or probably some kind of cheap light thing around it or that it uh that it lights Denise Cheng: Sure, Marlene Mcintyre: up, Denise Cheng: why not. Marlene Mcintyre: it's also Denise Cheng: Yep. Marlene Mcintyre: nice. And if you put it away, I think it's uh w Denise Cheng: Yeah. Marlene Mcintyre: we have to we uh that's uh it's Jennifer Caylor: Yeah. Marlene Mcintyre: not a easy market. We have to something special. Denise Cheng: Yeah. Marlene Mcintyre: And for twenty five Jennifer Caylor: True. Marlene Mcintyre: Euros people want something remote c special from your mote control, Jennifer Caylor: Yeah. Marlene Mcintyre: and we Denise Cheng: Definitely. Marlene Mcintyre: can't deliver that in r with uh regards to the functions, because we aren't gonna Denise Cheng: With eye Marlene Mcintyre: put Denise Cheng: candy, ear candy, whatever. Marlene Mcintyre: Yeah. Denise Cheng: Yeah, definitely. Marlene Mcintyre: And then uh when make it, you know, nice looking shape and this and then you also you got the stand-up thing. Yeah. I think Denise Cheng: Yeah. Marlene Mcintyre: I think Jennifer Caylor: Yeah, Marlene Mcintyre: it's a Jennifer Caylor: it Marlene Mcintyre: good Jennifer Caylor: must Marlene Mcintyre: idea. Jennifer Caylor: be must be a gadget to have. Marlene Mcintyre: Yeah. Denise Cheng: Definitely, yeah. Marlene Mcintyre: Oh, if it let's well, we will see what's possible concerning the the costs, and if it's possible we'll do that. Jennifer Caylor: Yeah. Marlene Mcintyre: And we even try to save up on other stuff to make sure we can do such a thing. And the first thing we the most likeable thing to to n to skip is then probably the recharge function or something. If that's too expensive, Jennifer Caylor: Yeah, Marlene Mcintyre: we won't Jennifer Caylor: we Marlene Mcintyre: do Jennifer Caylor: c Marlene Mcintyre: that. But it would be nice. Denise Cheng: It would be nice, Marlene Mcintyre: It's Denise Cheng: yes. Marlene Mcintyre: the idea. I know that batteries last long nowadays. And and what people just think about, well, I'll never have to buy any r batteries again, so y b because it's very annoying when your battery is empty. And you know then when you haven't batteries around, and probably for two weeks, your remo I've Denise Cheng: Most televisions Marlene Mcintyre: experienced that Denise Cheng: break Marlene Mcintyre: that Denise Cheng: down before the battery pack is empty, so Marlene Mcintyre: Yeah, okay. Denise Cheng: yes. Marlene Mcintyre: So, easy functions. Well, we will we will I think we'll work that out, zapping, numbers on it, Jennifer Caylor: Or just Marlene Mcintyre: bi Jennifer Caylor: give a beep when the battery's out or uh down. Denise Cheng: Yeah, why Marlene Mcintyre: Yeah. Denise Cheng: not. Marlene Mcintyre: But it's also annoying. 'cause as Denise Cheng: Hmm. Marlene Mcintyre: long as it stays as it ke keeps working, you're not Jennifer Caylor: Yeah. Marlene Mcintyre: very motivated to do something about it. Jennifer Caylor: true. Marlene Mcintyre: Then Denise Cheng: No, Marlene Mcintyre: it Denise Cheng: that's Marlene Mcintyre: beeps Denise Cheng: true. Marlene Mcintyre: all the time and. You don't want to have ever have those problems, and you won't have if if you have the rechargeable. And you don't have to use the unit, you can also put it on the side if people don't like it. Uh, Denise Cheng: Why Marlene Mcintyre: i i in Denise Cheng: not. Marlene Mcintyre: the in Elisabeth Mitchell: But Marlene Mcintyre: the ma Elisabeth Mitchell: you pay for it. Marlene Mcintyre: Yeah, but it w I mean, if if they pay for it because they think, oh, that's a great idea, I'm gonna use it. And when it, you know, when time goes by and they think, well, I'll never put him in the recharger, I think last long enough, then they put it on side and they can use it now and then. Then when they look get m I I I know for sure that everybody who buys this remote control, within a couple of months of they will be in the situation that they they're seeking for the remote control, they wanna see something Jennifer Caylor: Yeah. Marlene Mcintyre: quick and uh just push the button and th uh, I think Denise Cheng: Bleep Marlene Mcintyre: it's brilliant. Denise Cheng: bleep bleep, oh there it is, yeah. Marlene Mcintyre: Yeah, Jennifer Caylor: Yeah. Marlene Mcintyre: I've never Denise Cheng: Yeah. Marlene Mcintyre: it's so simple, but I've never seen it. Denise Cheng: No. Jennifer Caylor: And you can leave Denise Cheng: Nearly. Marlene Mcintyre: M Jennifer Caylor: it just there. Marlene Mcintyre: maybe we should really do this. Jennifer Caylor: Yeah. Denise Cheng: Yeah. Marlene Mcintyre: Okay now, well, how much time have we got left? These clocks aren't uh synched. Jennifer Caylor: Yes. Marlene Mcintyre: Oh, now I've put uh well, it is twenty p Jennifer Caylor: Yeah, I'll Marlene Mcintyre: Okay, so we have ten minutes or something? Denise Cheng: Something like that, yeah. Marlene Mcintyre: Yeah, but we're uh we're done. Jennifer Caylor: Uh Marlene Mcintyre: I Jennifer Caylor: fifteen Marlene Mcintyre: think. Jennifer Caylor: minutes. Marlene Mcintyre: We've decided on the functions. Well, there is some oh. There is a closing sheet. We have lunch break, and then we have thirty minutes of individual work. Denise Cheng: Oh. Marlene Mcintyre: Oh okay, I'll make sure I'll I had some problems with uh the digitising the the first minutes, the the s the next minutes won't be a problem, but I'll try to make sure the first one will be in the folder too, but maybe it won't work, but you'll see. I think these Denise Cheng: We'll Marlene Mcintyre: are Denise Cheng: see. Marlene Mcintyre: more important than the first ones, so Jennifer Caylor: Can you make an uh uh a part of f folder for the minutes maybe? That not not Denise Cheng: Maarten, Jennifer Caylor: everything Denise Cheng: five Jennifer Caylor: in one Denise Cheng: minutes. Jennifer Caylor: one Marlene Mcintyre: Oh, Jennifer Caylor: uh Marlene Mcintyre: five minutes. Jennifer Caylor: folder. Marlene Mcintyre: Yeah, because uh I I d I did uh the first minutes I did were were were a bit scratchy, you know. Then I did a s second one with a nicer layout, which I could uh, know, use for the other ones well, but uh I d think uh I forgot to do put done under the first one, and when you go write Jennifer Caylor: Yeah. Marlene Mcintyre: a second uh it's get it's not working when you try to write second Jennifer Caylor: Maybe. Marlene Mcintyre: uh paper Denise Cheng: No, that's Marlene Mcintyre: or Denise Cheng: true Marlene Mcintyre: something. Denise Cheng: uh, yeah. Marlene Mcintyre: And then you you had to overwrite it or someth I don't know. Becau I d uh, it was not my uh pen. Denise Cheng: Should we by the way draw um Marlene Mcintyre: this kind of Denise Cheng: on Marlene Mcintyre: looks Denise Cheng: our nice Marlene Mcintyre: you like. Denise Cheng: whiteboard, um a little uh idea of Marlene Mcintyre: Of the shape. Denise Cheng: yeah. Jennifer Caylor: Or the Marlene Mcintyre: Yeah, Jennifer Caylor: sh Marlene Mcintyre: probably, Denise Cheng: I Marlene Mcintyre: it Denise Cheng: dunno. Marlene Mcintyre: would be nice. Denise Cheng: Has anyone got um Jennifer Caylor: Do you get Denise Cheng: a Jennifer Caylor: an idea Denise Cheng: little Jennifer Caylor: of Denise Cheng: bit Jennifer Caylor: the shape? Denise Cheng: detailed ideas about the shape? I don't, Elisabeth Mitchell: Maybe like Denise Cheng: for one. Elisabeth Mitchell: this pen. Denise Cheng: A bit bigger I guess, Marlene Mcintyre: No, Denise Cheng: but Marlene Mcintyre: bigger. Jennifer Caylor: A little bit bigger, yeah but Denise Cheng: The shape is nice, it's um something different, and Elisabeth Mitchell: It Denise Cheng: we Elisabeth Mitchell: has Denise Cheng: want Elisabeth Mitchell: to feel Denise Cheng: we Elisabeth Mitchell: nice Denise Cheng: want Marlene Mcintyre: Well, Denise Cheng: that. Elisabeth Mitchell: in Marlene Mcintyre: I Elisabeth Mitchell: your hand. Marlene Mcintyre: I Denise Cheng: Yeah. Marlene Mcintyre: I have to say, I have this uh can opening remote control in my head most of all, or I think some maybe we should no, that will be too Jennifer Caylor: Oh, uh Marlene Mcintyre: costly. Jennifer Caylor: look uh look Marlene Mcintyre: We shou Jennifer Caylor: at Marlene Mcintyre: we Jennifer Caylor: the Marlene Mcintyre: could Jennifer Caylor: pictures. Marlene Mcintyre: also, that was a would also be an idea, but I don't think it I don't know if it exists already, you should like make Alessi or something design it. Denise Cheng: Okay, yeah. Marlene Mcintyre: That would also be nice. But that's Denise Cheng: Yeah, Marlene Mcintyre: gonna Denise Cheng: but Marlene Mcintyre: then you c then you Denise Cheng: twelve Marlene Mcintyre: don't Denise Cheng: and a half Euros? Uh Marlene Mcintyre: Yeah, but then you don't have t yeah it that's not something i that's in the production cost a one it's a one time, you know s was it's a single cost. Denise Cheng: Yeah. Marlene Mcintyre: Yeah, m but but then you can nah, I don't thin I think that it would be more expensive, because I've bought the Alessi stuff more often and even small pencil holders or something are more expensive. Denise Cheng: Yeah, that's true. Marlene Mcintyre: Would be a nice idea though. I don't know. I think it uh has to be a r it has to have round forms or something. Like something like that or so or so Denise Cheng: Something like that is very ergonomic. Marlene Mcintyre: And on th and then uh Denise Cheng: So Marlene Mcintyre: s a base unit underneath it. It's also round. Put it in there uh wire on it. Maybe Denise Cheng: Yeah. Marlene Mcintyre: uh, I don't know, some some lights, a big but well. Jennifer Caylor: Yeah, flash lights at the Marlene Mcintyre: Volume and Jennifer Caylor: side. Marlene Mcintyre: programme, Jennifer Caylor: At Marlene Mcintyre: yeah. Jennifer Caylor: the side, Denise Cheng: Yes, Jennifer Caylor: or something Denise Cheng: volume and Jennifer Caylor: like Denise Cheng: programme Jennifer Caylor: that. Denise Cheng: should be there I guess, because you Marlene Mcintyre: And Denise Cheng: hands Marlene Mcintyre: some Denise Cheng: wi Marlene Mcintyre: of the Denise Cheng: uh y Marlene Mcintyre: extra Denise Cheng: your Marlene Mcintyre: funct Denise Cheng: hands will be in the smaller part. Marlene Mcintyre: Some of the Jennifer Caylor: Yeah. Marlene Mcintyre: extra functions over here. Denise Cheng: Yeah, and Marlene Mcintyre: Numbers. Denise Cheng: the numbers on top, Jennifer Caylor: Yeah. Denise Cheng: I guess. Marlene Mcintyre: And and lights? How we're g well, maybe uh s a ring of no, no, you have to Maybe on the side Denise Cheng: Maybe Marlene Mcintyre: of it. Denise Cheng: ro roun rounds uh Jennifer Caylor: Yeah, Denise Cheng: uh Jennifer Caylor: side Denise Cheng: l Jennifer Caylor: of Denise Cheng: sorry. Jennifer Caylor: it. Marlene Mcintyre: Along Jennifer Caylor: Just Marlene Mcintyre: the side Jennifer Caylor: two LEDs Marlene Mcintyre: uh strip Jennifer Caylor: or something Marlene Mcintyre: of yeah. Jennifer Caylor: on the side. Denise Cheng: Maybe lights Jennifer Caylor: Yeah. Denise Cheng: also around the volume and the p the plus minus programme buttons. Marlene Mcintyre: Yeah, but I also meant the Denise Cheng: Oh. Marlene Mcintyre: the blinking li w you know, the ones that also blink when you try to uh uh locate your remote. Denise Cheng: Okay. Jennifer Caylor: Yeah. Denise Cheng: Yeah. Marlene Mcintyre: Well, Jennifer Caylor: Well, uh Marlene Mcintyre: theys have Jennifer Caylor: probably Marlene Mcintyre: to be Jennifer Caylor: at the side. You know look Marlene Mcintyre: Yeah. Jennifer Caylor: at the front, Marlene Mcintyre: Yeah, Jennifer Caylor: but Marlene Mcintyre: yeah. Exactly. When you you see it from the side, then it would look just like that. Jennifer Caylor: Yeah, Marlene Mcintyre: And Jennifer Caylor: exactly, Marlene Mcintyre: then you have Jennifer Caylor: and then there is yeah. Marlene Mcintyre: a strip of uh lights or Jennifer Caylor: Yeah, Marlene Mcintyre: something. Denise Cheng: Okay, yeah. Jennifer Caylor: something like that, yeah. Marlene Mcintyre: Well, uh I think it's nice, for one thing. maybe put something on top of it or, you know, like that's Jennifer Caylor: No. Marlene Mcintyre: looks funny. I don't know. Jennifer Caylor: No. Marlene Mcintyre: Or some Denise Cheng: I Marlene Mcintyre: bump. Denise Cheng: think I think Marlene Mcintyre: Maybe Denise Cheng: that'll Marlene Mcintyre: some Denise Cheng: be too big tha Marlene Mcintyre: Yeah? Denise Cheng: too big then. Jennifer Caylor: Bumper or something. Marlene Mcintyre: We'll have to think about it. I think we're Denise Cheng: Yeah. Marlene Mcintyre: we're done. Jennifer Caylor: Yeah. Denise Cheng: Yes, we are. Marlene Mcintyre: We can Jennifer Caylor: Lunch Marlene Mcintyre: save Jennifer Caylor: break. Denise Cheng: Alright. Marlene Mcintyre: this one. Denise Cheng: Yes, I guess it's lunch time. Jennifer Caylor: Okay then. Marlene Mcintyre: Mm mm. Denise Cheng: I don't know. Half and hour? I thought Jennifer Caylor: Okay, Denise Cheng: our Jennifer Caylor: five Denise Cheng: next uh Jennifer Caylor: uh Denise Cheng: next individual round was half an hour. Marlene Mcintyre: Yeah, that was what Denise Cheng: I don't Marlene Mcintyre: uh Denise Cheng: know about the lunch break. Marlene Mcintyre: Mm, we'll hear about it. Denise Cheng: Well Jennifer Caylor: Oh.

Marlene Mcintyre opened the meeting. Elisabeth Mitchell reported on working design, explaining how a remote control works and describing its main components. Jennifer Caylor talked about what functions should be included. He suggested they should focus on either expert or novice users. The basic functions should include an on/off switch, buttons for channels one to nine, volume, mute and buttons for next and previous channel. He suggested that a trendy design should not have many buttons. Denise Cheng reported on user requirements, including how users rated the importance of different features. He stressed that a trendy design is important, that users zap a lot, and that remotes often get lost. Marlene Mcintyre informed the group of new requirements. The remote is only for TV, should not include a teletext feature, and should feature the company colour and slogan. The group discussed what functions and features the remote should have, and whether to include DVD/VCR controls, a teletext button, stop button, changeable covers, and a base/recharger with locator function. The group also discussed making the remote a rounded, ergonomic shape, and using flashing lights to help locate it when lost.

amisum

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Lori Parekh: Okay, all set? Welcome Leigh Brown: Uh, Dawn Finzel: Yes. Leigh Brown: okay. Lori Parekh: 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? Leigh Brown: Again. Lori Parekh: Okay. Leigh Brown: Hmm. Lori Parekh: 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 Leigh Brown: Mm-hmm. Lori Parekh: the first part of the minutes are very hard to read, because there are two documents that uh were layered over each other. Karen Churchill: Okay. Lori Parekh: So But uh, from now on I won't use my pen anymore, so will be p just ordinary Leigh Brown: Uh, Lori Parekh: keyboard. Leigh Brown: may be better, yeah. Karen Churchill: Keyboard work. Lori Parekh: I Karen Churchill: Yeah. Lori Parekh: think it will will be more uh easy Leigh Brown: Yeah. Lori Parekh: for you to read the minutes. Karen Churchill: Alright. Dawn Finzel: 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 Karen Churchill 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 Leigh Brown: Oh. Dawn Finzel: 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. Leigh Brown: Oh titanium is probably trendy, I think. Karen Churchill: That's true, I guess. Yeah. Leigh Brown: Well, maybe a little bit expensive. I don't know. Karen Churchill: Huh. Dawn Finzel: 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. Lori Parekh: Twelve and a half. Dawn Finzel: Ah yeah. Lori Parekh: Actually Karen Churchill: Yeah. Leigh Brown: Yeah, production cost. Dawn Finzel: 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 Lori Parekh: What are those, t tooth uh brushes, Dawn Finzel: Um, Lori Parekh: or so Dawn Finzel: I don't know. Um Lori Parekh: But it's actually kind Leigh Brown: I Lori Parekh: of uh well, it resembles the design I had Dawn Finzel: Yes. Lori Parekh: in mind for this Karen Churchill: Yep. Lori Parekh: proj You know the the cartoonish Alessi kind of design. Dawn Finzel: Yes, maybe we can uh bri uh bring a couple of uh Lori Parekh: And we can we can steal Dawn Finzel: couple Lori Parekh: their Dawn Finzel: of Lori Parekh: ideas. Dawn Finzel: types of uh maybe a kind of uh whole uh um a whole set of uh different uh remote controls. Maybe we can Lori Parekh: Huh. Dawn Finzel: bring a whole line uh with uh with a huge variety of uh Lori Parekh: Well, Dawn Finzel: uh house Lori Parekh: it's Leigh Brown: Different Lori Parekh: a possibility, Dawn Finzel: uh stuff. Leigh Brown: colours Lori Parekh: too. Leigh Brown: also. Dawn Finzel: Like uh maybe radios and uh television Lori Parekh: Uh-uh. Dawn Finzel: also uh in this in this in the same style, but Karen Churchill: Yeah, that'll Lori Parekh: Okay. Karen Churchill: be for the future, I guess. Dawn Finzel: Yes, because we have to uh Lori Parekh: Next time we're here. Dawn Finzel: we have Karen Churchill: Yeah. Leigh Brown: Yeah. Dawn Finzel: to we have to bring the logo and all the stuff Lori Parekh: Oh, Dawn Finzel: uh Lori Parekh: okay. Dawn Finzel: back into it. Karen Churchill: Yeah. Definitely. Lori Parekh: Okay. Dawn Finzel: Thank Karen Churchill: Alright. Dawn Finzel: you. Leigh Brown: Okay. uh Karen Churchill: Yeah. That's okay. Leigh Brown: Ah. Leigh Brown: 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 Lori Parekh: Oh, we Leigh Brown: uh Lori Parekh: decided upon that in the last meeting. Leigh Brown: Yeah, Lori Parekh: Didn't Leigh Brown: but Lori Parekh: we? Leigh Brown: but then wh I don't know when there are new user requirements. Lori Parekh: Oh, okay. Leigh Brown: I ha I Lori Parekh: Well, Leigh Brown: ha Lori Parekh: tha Leigh Brown: I Lori Parekh: I didn't Leigh Brown: have the Lori Parekh: receive Leigh Brown: I Lori Parekh: any Leigh Brown: have Lori Parekh: new requirements or somethi Just Leigh Brown: nothing. Lori Parekh: no, but we decided to use only b basic functions only. Leigh Brown: Well, I have here a couple of basic functions I could think of. Lori Parekh: Okay. Leigh Brown: I dunno if they're maybe a little bit more, but Lori Parekh: Well we maybe we can think of that later. Leigh Brown: Yeah. Lori Parekh: W just these are the ones you already summed up in the Leigh Brown: Yeah, I I uh well, I pointed them out here, Lori Parekh: Okay. Leigh Brown: 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. Lori Parekh: Yeah. Dawn Finzel: Uh-huh. Leigh Brown: If we got already uh something like a Lori Parekh: That Leigh Brown: base. Lori Parekh: might get redundant also maybe. I don't know what kind of Leigh Brown: Yeah, Lori Parekh: information Leigh Brown: I don't know. Lori Parekh: it Leigh Brown: I d Lori Parekh: would Leigh Brown: I Karen Churchill: Mm yeah. Leigh Brown: uh ju I was just thinking about it. Then Lori Parekh: Yeah. Leigh Brown: I got a pop-ups Lori Parekh: Yeah, it's Dawn Finzel: Maybe Lori Parekh: okay. Leigh Brown: to go Dawn Finzel: we Leigh Brown: to Dawn Finzel: can Leigh Brown: the meeting. Dawn Finzel: bring t Leigh Brown: But Dawn Finzel: uh uh teletext to the t Leigh Brown: The remote control. Dawn Finzel: to the remote control. Leigh Brown: a Karen Churchill: Then you Leigh Brown: little Karen Churchill: and then you've got a flag Leigh Brown: uh too Karen Churchill: s Lori Parekh: Okay. Leigh Brown: A little bit Lori Parekh: That's Karen Churchill: Very Lori Parekh: not Karen Churchill: big R_C_. Yeah. Leigh Brown: A little bit Lori Parekh: It was Leigh Brown: too Lori Parekh: not Leigh Brown: big, Lori Parekh: a good Leigh Brown: I think. Lori Parekh: idea. Leigh Brown: Exactly. Lori Parekh: Okay. Leigh Brown: Um, yeah. Well, the functions are are not more to discuss, I Lori Parekh: No. Leigh Brown: think. It's Lori Parekh: No. Leigh Brown: it's Karen Churchill: No. Leigh Brown: just the base things we already discussed that the no V_C_R_ or that kind of uh, so that's very easy. Um Lori Parekh: But you do mention the next and previous uh button. Leigh Brown: Mm-hmm. Karen Churchill: Next channel, Leigh Brown: Well, Karen Churchill: previous Leigh Brown: that's next Karen Churchill: channel. Leigh Brown: channel. Lori Parekh: Oh, Leigh Brown: I Lori Parekh: okay, Leigh Brown: mean Lori Parekh: o Leigh Brown: next channel. Lori Parekh: okay Leigh Brown: Uh Lori Parekh: okay. Leigh Brown: Um oh, I I got an email with with an uh Lori Parekh: Huh. Leigh Brown: 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 Dawn Finzel: But you're the expert. Karen Churchill: I think it depends on the function. Leigh Brown: Well, I'm not a e I'm the expert for user-friendly, but not for trendiness. Lori Parekh: Mm-hmm. Leigh Brown: Maybe Karen Churchill: Well, Leigh Brown: it Karen Churchill: if you save uh Perhaps uh s tiny buttons aren't user-friendly, then we wouldn't im implement that of course. Leigh Brown: Well uh okay, that's your point. Um, yeah. Yeah, okay. Yeah, I've nothing to s Lori Parekh: Well, Karen Churchill: Oh, that's Lori Parekh: w Karen Churchill: right. Lori Parekh: when we only use basic functions, we have the possibility to make the buttons larger. Leigh Brown: Uh, with a little Karen Churchill: Yeah. Leigh Brown: bit larger, yeah. I thought so, but maybe with the Lori Parekh: 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 Leigh Brown: Yeah, Lori Parekh: yeah, Leigh Brown: that Lori Parekh: they have Leigh Brown: groups. Lori Parekh: to be large. Uh, Leigh Brown: Large? Lori Parekh: I mean th th the the two two basic buttons, you know, the to skip channels Leigh Brown: Yeah. Lori Parekh: and Karen Churchill: Yep. Lori Parekh: to uh I think yeah, I don't know why, but I think that is that's t Leigh Brown: Most Karen Churchill: Those Lori Parekh: trendy Karen Churchill: are probably Lori Parekh: too, Leigh Brown: the most Karen Churchill: the Lori Parekh: because Leigh Brown: used Karen Churchill: the Lori Parekh: that's Karen Churchill: th Leigh Brown: uh Lori Parekh: the mo it Leigh Brown: buttons. Lori Parekh: 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 Karen Churchill: Yes. Lori Parekh: our remotes Leigh Brown: True. Lori Parekh: to j to make Leigh Brown: Yeah. Lori Parekh: these two most basic functions extra big, like Karen Churchill: Those are Lori Parekh: t Karen Churchill: probably the b four most most used buttons on the Lori Parekh: Yeah. Karen Churchill: th in the Dawn Finzel: You Karen Churchill: remote Dawn Finzel: did Lori Parekh: And Karen Churchill: control. Dawn Finzel: the Lori Parekh: you Dawn Finzel: research. Lori Parekh: want Leigh Brown: Yeah. Lori Parekh: to acc accentuate that, you know. Karen Churchill: Sorry? Dawn Finzel: It's from your research. Karen Churchill: Yeah, sure. Leigh Brown: Okay. Lori Parekh: So Leigh Brown: Uh, that was all y uh personal preference I didn't have. I Lori Parekh: Okay. Leigh Brown: didn't had any time left. So Lori Parekh: No uh, that's coo it's cool. Karen Churchill: You don't care. No, sorry. Leigh Brown: Yeah, Karen Churchill: Yeah. Oh. Go away. Karen Churchill: Come Leigh Brown: It's Karen Churchill: on. Leigh Brown: there. Yeah, click on it. Couple time. Karen Churchill: 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 Lori Parekh: Well maybe c then we have to do something with Sponge Bob then. Karen Churchill: 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, Lori Parekh: It doesn't Karen Churchill: remote Lori Parekh: stroke Karen Churchill: controls Lori Parekh: with the Karen Churchill: in Lori Parekh: with the Karen Churchill: in Lori Parekh: dark Karen Churchill: catchy Lori Parekh: colours. Karen Churchill: colours. Uh, no, we don't want dark colours. Lori Parekh: Not the dark colours? Okay. Karen Churchill: No, I just put them there to uh, yeah, uh for general idea. Lori Parekh: Okay. Karen Churchill: 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? Lori Parekh: For diversity or something. Karen Churchill: Yeah, Lori Parekh: Uh Karen Churchill: also a bit for elderly people who are a little bit crazy and want Leigh Brown: Well, how Karen Churchill: maybe Leigh Brown: uh Karen Churchill: 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. Leigh Brown: But Karen Churchill: Yes. Leigh Brown: how do we use uh fruits and vegetables in Christ's sake with remote Lori Parekh: No, Leigh Brown: control? Lori Parekh: but I Karen Churchill: Yeah, Lori Parekh: I Karen Churchill: there's Lori Parekh: I think Karen Churchill: there's Leigh Brown: Uh, Lori Parekh: that uh Karen Churchill: always Lori Parekh: our Leigh Brown: make Karen Churchill: a Lori Parekh: design Leigh Brown: it a banana? Lori Parekh: already resembles so a piece of fruit. It's Karen Churchill: Well Lori Parekh: like a pear Karen Churchill: there Lori Parekh: or Karen Churchill: there's Lori Parekh: something. Karen Churchill: always empty space of course on a remote control. I mean I think this part of the R_C_ uh well Lori Parekh: No, I don't think you have to do it Karen Churchill: the Lori Parekh: like Karen Churchill: upper the upper part or whatever is uh is not not used with buttons, I guess. So you you can put some fruity things Lori Parekh: Yeah, but it that doesn't have to remind you, you know, like explicitly of s our f of a of Karen Churchill: No, Lori Parekh: a Karen Churchill: of Lori Parekh: specific Karen Churchill: course not. Lori Parekh: piece of fruit, but just, you know, like the the the the round curves. And so y I I think this Karen Churchill: Especially Lori Parekh: y it already Karen Churchill: i Lori Parekh: sem resembles uh something like a Leigh Brown: Yeah, Lori Parekh: pear Leigh Brown: but Lori Parekh: to Karen Churchill or something. Leigh Brown: th Karen Churchill: Yeah, Leigh Brown: yeah, but Karen Churchill: yeah. Leigh Brown: that Karen Churchill: Yeah, exactly. Leigh Brown: Yeah, Karen Churchill: If we Lori Parekh: Yeah. Karen Churchill: make it Leigh Brown: but Karen Churchill: little Leigh Brown: that's Karen Churchill: bit greenish. Lori Parekh: You do get the idea, eh? The fruity Leigh Brown: Yeah Lori Parekh: kind Leigh Brown: uh Lori Parekh: of round Leigh Brown: uh Karen Churchill: A Lori Parekh: 'Kay. Karen Churchill: and we could use one of these for the uh Lori Parekh: Yeah, Karen Churchill: w Lori Parekh: uh Karen Churchill: what is it? Lori Parekh: yeah, I don't know. Dawn Finzel: Grapes. Karen Churchill: Uh Isn't Lori Parekh: Uh, this is a b yeah. Karen Churchill: Wha whatever. Leigh Brown: But d don't we need a creative artist or something like that to m Lori Parekh: Yeah, yeah. Leigh Brown: make Lori Parekh: Of Leigh Brown: it Lori Parekh: course Leigh Brown: to feel Lori Parekh: we have Leigh Brown: like Lori Parekh: uh Leigh Brown: a a Karen Churchill: Yeah, Leigh Brown: a Karen Churchill: sure. Leigh Brown: a vegetable or fruit? Karen Churchill: Yeah. Lori Parekh: we have a very big uh Karen Churchill: Well, w we can Lori Parekh: the s Karen Churchill: uh w Dawn Finzel: For a big team Karen Churchill: we can Dawn Finzel: of artists. Lori Parekh: Of d Karen Churchill: we Lori Parekh: design Karen Churchill: can produce Lori Parekh: team, yeah. Karen Churchill: multiple uh multiple things. This is then the uh pear. I don't know the English word, Lori Parekh: Yeah, but Karen Churchill: so forget it. Lori Parekh: It's pear, I guess. Karen Churchill: And um, Dawn Finzel: But Karen Churchill: maybe, Dawn Finzel: uh but I think Karen Churchill: yeah, a Dawn Finzel: we Karen Churchill: b Dawn Finzel: don't Karen Churchill: a banana Dawn Finzel: have to make Karen Churchill: is uh is n not easy for a remote control, but m yeah. Dawn Finzel: we Lori Parekh: No. Dawn Finzel: can't make all uh ten designs. We have to make one design I th I I think. Lori Parekh: No, but I think it's it's Karen Churchill: Mayb Lori Parekh: already Karen Churchill: maybe two or three. Lori Parekh: what we were were up to. Leigh Brown: Yeah. Lori Parekh: Uh, it's Karen Churchill: Yeah. Lori Parekh: it doesn't have to resemble uh what I already said, a specific piece of fruit, but just, Karen Churchill: No Lori Parekh: you Karen Churchill: sure, Lori Parekh: know, like Karen Churchill: but Lori Parekh: a fruity Karen Churchill: but Lori Parekh: thing going on. Karen Churchill: B Lori Parekh: And it's it looks Karen Churchill: but Lori Parekh: fruity Karen Churchill: that's great, Lori Parekh: to Karen Churchill. Karen Churchill: and and and what I was what Lori Parekh: And Karen Churchill: what Lori Parekh: uh, but Karen Churchill: I was Lori Parekh: I Karen Churchill: saying, Lori Parekh: do like Karen Churchill: the catchy Lori Parekh: the Karen Churchill: colours Lori Parekh: 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. Karen Churchill: Yeah. Dawn Finzel: But pictures of fruit, Lori Parekh: Maybe it's too much, Dawn Finzel: vegetables Lori Parekh: you Leigh Brown: But, Lori Parekh: know. Karen Churchill: Yeah, Leigh Brown: we we have Karen Churchill: uh Leigh Brown: to um Karen Churchill: not really. Dawn Finzel: vegetables Karen Churchill: Pictures was a Leigh Brown: There have to Karen Churchill: was Leigh Brown: be Karen Churchill: a bad Leigh Brown: the Karen Churchill: word, Leigh Brown: the Karen Churchill: but Leigh Brown: the the firm colours, our own Lori Parekh: Okay, Leigh Brown: uh Lori Parekh: but Leigh Brown: colours Lori Parekh: what Leigh Brown: has Lori Parekh: are Leigh Brown: to Lori Parekh: the Leigh Brown: be Lori Parekh: This Leigh Brown: in it. Lori Parekh: is Karen Churchill: Well Lori Parekh: yellow. Karen Churchill: we c yeah. Leigh Brown: Yellow, a Real Reaction. Dawn Finzel: Yes, you can put a logo on top of it. Karen Churchill: Yeah, Lori Parekh: But I don't Karen Churchill: sure. Lori Parekh: think our Leigh Brown: Uh, Lori Parekh: our Leigh Brown: yeah. Lori Parekh: company colours are this fashionable. Karen Churchill: Maybe we can Dawn Finzel: Yes, Karen Churchill: if Dawn Finzel: it's really Karen Churchill: if Dawn Finzel: fruity. Karen Churchill: we got Leigh Brown: We Karen Churchill: our Leigh Brown: uh Karen Churchill: docking Leigh Brown: f Karen Churchill: station over here. I can't draw with this thing, but I'll try. Leigh Brown: A yellow Karen Churchill: If this Leigh Brown: do Karen Churchill: is our docking station, we can make Leigh Brown: Uh, yeah. Karen Churchill: our logo over here. It doesn't work. And then Leigh Brown: Yeah, and the button then. Dawn Finzel: With a strawberry on top. Lori Parekh: Yeah, on uh Karen Churchill: Well, Lori Parekh: n uh on the bottom of the remote Karen Churchill: the button Lori Parekh: you can Karen Churchill: button Lori Parekh: do Karen Churchill: over here or whatever, I don't Leigh Brown: Okay, Karen Churchill: know. Leigh Brown: yeah. Karen Churchill: On the front, of course, because else you can't find it. Leigh Brown: Okay. Karen Churchill: Well, that were my ideas a little bit. I'll close Lori Parekh: Okay. Karen Churchill: 'em down. Um, go away. Lori Parekh: Okay, you can you open the conceptual design Karen Churchill: Conceptual Lori Parekh: presentation? Karen Churchill: design, yes. Lori Parekh: See what was on the agenda. Leigh Brown: Lazy. Karen Churchill: The agenda. Lori Parekh: This is his own remote Because. um, Leigh Brown: Yeah. Lori Parekh: 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? Dawn Finzel: Only if we Karen Churchill: I don't I don't know what to display on it. Dawn Finzel: Maybe Karen Churchill: I mean Dawn Finzel: maybe we Lori Parekh: Karen Churchill Dawn Finzel: can Lori Parekh: neither. Dawn Finzel: make a T_V_ guide on it, for the channel you're on. Karen Churchill: Yeah, but Lori Parekh: Yeah, but Karen Churchill: it Lori Parekh: it's Karen Churchill: should Lori Parekh: so Karen Churchill: be li like this big, and I Dawn Finzel: No, Karen Churchill: don't Dawn Finzel: no, Karen Churchill: think Lori Parekh: I Dawn Finzel: only Lori Parekh: don't think Dawn Finzel: the Lori Parekh: we Dawn Finzel: T_V_ Lori Parekh: should do Dawn Finzel: channel Lori Parekh: it. Dawn Finzel: with the with uh with uh four programmes. You can uh zap through them with the page up page down button. Karen Churchill: Yes sure, but it it has to to show an entire title of a programme or at least a q a quite Dawn Finzel: Yes, it Karen Churchill: quite Dawn Finzel: can Karen Churchill: large part of it and then Dawn Finzel: On Karen Churchill: you Dawn Finzel: your Karen Churchill: get a very large L_C_D_ Dawn Finzel: No, Karen Churchill: screen, Dawn Finzel: on Karen Churchill: because Dawn Finzel: your mobile phone you can y you can read text also. So why not on your remote? Lori Parekh: Yeah, but no. Karen Churchill: Yeah, Lori Parekh: I Karen Churchill: I don't Lori Parekh: do Karen Churchill: know. Lori Parekh: 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 Leigh Brown: Well well Lori Parekh: or Leigh Brown: what Lori Parekh: something, Leigh Brown: would you Lori Parekh: it's Leigh Brown: display on it then? Dawn Finzel: Uh, programme uh information Karen Churchill: Programme information. Dawn Finzel: or Leigh Brown: But Dawn Finzel: or Leigh Brown: is Karen Churchill: But Leigh Brown: it Dawn Finzel: or Leigh Brown: isn't Dawn Finzel: or Leigh Brown: that Dawn Finzel: g Leigh Brown: a already Dawn Finzel: or a guide Leigh Brown: on T_V_, a lot of new T_V_s? Karen Churchill: Well a lot a lot of Dawn Finzel: But Karen Churchill: T_V_s indeed show uh when you uh Lori Parekh: But you're already Karen Churchill: zap Lori Parekh: watching Karen Churchill: to Lori Parekh: the Leigh Brown: Yeah. Karen Churchill: a Lori Parekh: T_V_, you're not gonna watch your remote control. Dawn Finzel: Yes, but you also want to know what's next. Karen Churchill: But then we also uh w need to bring out a line of T_V_s which we were planning Leigh Brown: Yeah, and Karen Churchill: to, Leigh Brown: we Karen Churchill: but Leigh Brown: also Karen Churchill: whatever. Leigh Brown: have to Karen Churchill: Because Leigh Brown: yeah. Karen Churchill: the T_V_ has to send information back to the R_C_, and I don't know if that's Dawn Finzel: Yes, Karen Churchill: possible. Dawn Finzel: that's uh really possible. Karen Churchill: 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 Leigh Brown: And Lori Parekh: I Karen Churchill: control. Lori Parekh: really Leigh Brown: I also Lori Parekh: 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 Karen Churchill: Yeah. Lori Parekh: 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 Karen Churchill: That's Lori Parekh: nothing Karen Churchill: true, Lori Parekh: really, Karen Churchill: that's Lori Parekh: you know. Karen Churchill: true, it breaks f yeah, it it it's not very solid, it's uh frag Lori Parekh: Yeah, yeah. Karen Churchill: fragile. Lori Parekh: 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. Karen Churchill: No. No. I don't think so ei either. Lori Parekh: But that's my opinion. Well, you you y Okay, we can vote for it. You want the L_C_D_ display. Dawn Finzel: No. Lori Parekh: I don't want to and he doesn't, so it's up to him. If Leigh Brown: Yeah, Lori Parekh: we wanna Leigh Brown: I Karen Churchill: Ah. Leigh Brown: dunno. Lori Parekh: And I've read somewhere that I've got some kind of veto veto uh rights. Leigh Brown: Oh, Karen Churchill: Bastard. Leigh Brown: okay. Lori Parekh: So I can also say Leigh Brown: We can you Lori Parekh: But did Leigh Brown: away. Lori Parekh: we skip the Yeah, you could do m but what what i so what i but do Leigh Brown: Yeah, Lori Parekh: you think Leigh Brown: I don't Lori Parekh: we should Leigh Brown: know. Uh, uh I i if it's it's a simple Lori Parekh: We're not even Leigh Brown: p Lori Parekh: sure what what information we want to display Leigh Brown: No, Dawn Finzel: No Lori Parekh: on Leigh Brown: that Lori Parekh: it. So Leigh Brown: that's right, Dawn Finzel: uh Leigh Brown: and Dawn Finzel: um Leigh Brown: 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 Dawn Finzel: Y yes, Karen Churchill: Yeah, Dawn Finzel: you Karen Churchill: I guess. Dawn Finzel: can use uh buttons uh uh w that are already uh on the remote control Leigh Brown: But how Dawn Finzel: for Leigh Brown: does Dawn Finzel: double Leigh Brown: it Dawn Finzel: functions. Leigh Brown: display then? W Dawn Finzel: Uh, then you Leigh Brown: when Dawn Finzel: push Leigh Brown: I go to Dawn Finzel: a Leigh Brown: the Dawn Finzel: button. Leigh Brown: second channel, what what does it show Karen Churchill? Dawn Finzel: The title and the information about the programme. Leigh Brown: About Dawn Finzel: But Leigh Brown: that programme? Dawn Finzel: but uh yeah, what he said was right, about the televisions, they have to be uh customised Lori Parekh: Nah, Dawn Finzel: to the Lori Parekh: that's not gonna work. Dawn Finzel: But Karen Churchill: No. Dawn Finzel: maybe in future it Lori Parekh: Yeah. Dawn Finzel: will be a giant hit, and when you are the first you Lori Parekh: Oh, Dawn Finzel: have Lori Parekh: well Dawn Finzel: the Lori Parekh: uh I've Dawn Finzel: biggest Lori Parekh: seen it done Dawn Finzel: uh Lori Parekh: before. Do Leigh Brown: Yeah. Lori Parekh: 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. Karen Churchill: Yeah, Dawn Finzel: Yes, Karen Churchill: that's Dawn Finzel: you Karen Churchill: true, Dawn Finzel: can put Karen Churchill: if you Dawn Finzel: uh Karen Churchill: uh Dawn Finzel: a little Karen Churchill: Yeah. Dawn Finzel: L_C_D_ display on it with uh with lots of information. Lori Parekh: But Dawn Finzel: But Lori Parekh: it just Dawn Finzel: uh I Lori Parekh: it j Dawn Finzel: haven't thought Lori Parekh: it doesn't Dawn Finzel: about it. Lori Parekh: doesn't match with the our whole basic concept. Dawn Finzel: 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. Lori Parekh: Well Dawn Finzel: You can throw with Lori Parekh: yeah, yeah, Dawn Finzel: it Lori Parekh: okay. Dawn Finzel: and Lori Parekh: That's maybe not the most important, but it's just Leigh Brown: Is it fashion? Dawn Finzel: When Lori Parekh: I don't Dawn Finzel: when Lori Parekh: think Dawn Finzel: you put Lori Parekh: so. Dawn Finzel: uh maybe a colour L_C_D_ t uh screen on it, it's very special and very trendy to have Leigh Brown: I don't Dawn Finzel: uh Leigh Brown: know. Dawn Finzel: a remote Leigh Brown: That's Dawn Finzel: control Leigh Brown: not up to you. That's up to Dawn Finzel: from Leigh Brown: market if i if it's trendy. Lori Parekh: Yeah, well do you ha do you have to You haven't Karen Churchill: No. Lori Parekh: looked after the trendiness of L_C_D_ displays, Leigh Brown: Because Karen Churchill: Well, Leigh Brown: our Lori Parekh: have Karen Churchill: I Leigh Brown: our Karen Churchill: think Leigh Brown: motto Lori Parekh: you? Karen Churchill: it's uh Leigh Brown: is Karen Churchill: I think Leigh Brown: we put Karen Churchill: it's pretty Leigh Brown: fashion Karen Churchill: 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. Dawn Finzel: But uh I've got a the email with uh with the possibilities. And L_C_D_ was a possibility for the remote Lori Parekh: Yeah yeah Dawn Finzel: control. Lori Parekh: yeah. Dawn Finzel: So why don't we use it. Karen Churchill: Uh, Lori Parekh: Yeah, Karen Churchill: did Lori Parekh: but Karen Churchill: it Lori Parekh: we're Karen Churchill: say Lori Parekh: gonna Karen Churchill: a price Lori Parekh: if it Karen Churchill: also uh for for uh monogramme uh L_C_D_ or uh coloured L_C_D_? Leigh Brown: Yeah, if you want to be trendy you have to be coloured. Coloured Karen Churchill: Yeah really, if y if you Leigh Brown: If you have black Karen Churchill: c i Leigh Brown: and white or something, or grey, Karen Churchill: I in Lori Parekh: Then Leigh Brown: that's Lori Parekh: uh then Karen Churchill: in Lori Parekh: you Karen Churchill: two Lori Parekh: better Karen Churchill: thousand Lori Parekh: don't Karen Churchill: and four Lori Parekh: yeah, Karen Churchill: you Lori Parekh: d Karen Churchill: can't uh put something on the market which is a monogramme. Really. Dawn Finzel: 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 Lori Parekh: Uh Dawn Finzel: I didn't Lori Parekh: uh I really Dawn Finzel: think Lori Parekh: don't Dawn Finzel: that Lori Parekh: feel the whole idea of an L_C_D_ display. I'm sorry. It can't co you cannot convince Karen Churchill. I don't know how well how to with you guys, but I don't really feel it. We already we're Leigh Brown: It's too Lori Parekh: uh Leigh Brown: much uh maybe uh with Lori Parekh: Yeah, Leigh Brown: with Lori Parekh: we Karen Churchill: Yeah. Leigh Brown: the Lori Parekh: already Leigh Brown: L_C_D_ Lori Parekh: have Leigh Brown: and Lori Parekh: the Leigh Brown: the Lori Parekh: the Leigh Brown: docking Lori Parekh: th th th Leigh Brown: station Lori Parekh: base station Leigh Brown: and Lori Parekh: gadgets, and want and it uh uh, do it has to be a simple design, which Dawn Finzel: Yes, but o Lori Parekh: sturdy, Dawn Finzel: on Karen Churchill: W we've Dawn Finzel: the Karen Churchill: we've gotta Lori Parekh: which Karen Churchill: find Leigh Brown: With one Karen Churchill: a balance, Lori Parekh: soft Leigh Brown: thing Karen Churchill: of course. Leigh Brown: special. Karen Churchill: And I think Leigh Brown: Not a whole Lori Parekh: I don't Leigh Brown: package Lori Parekh: think Leigh Brown: of specialty. Lori Parekh: 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 Dawn Finzel: No, Lori Parekh: slicker Dawn Finzel: when y Lori Parekh: to have no L_ CEDs. Y we want to Dawn Finzel: But Lori Parekh: it's Dawn Finzel: it look Lori Parekh: simplicity, w you have two big buttons and you can do whatever you want Dawn Finzel: Yes, but Lori Parekh: with these two buttons, so Dawn Finzel: that Lori Parekh: you don't Dawn Finzel: remote Lori Parekh: need Dawn Finzel: controls Lori Parekh: an L_C_D_. Dawn Finzel: are already on the market. Lori Parekh: It doesn't fit Dawn Finzel: The simple Lori Parekh: in our philosophy uh behind the whole remote. Dawn Finzel: Yes, but but when you want to have something special Lori Parekh: Yeah, but we already have the docking station, which is Dawn Finzel: Yes, Karen Churchill: We have Dawn Finzel: but Karen Churchill: a Leigh Brown: And Dawn Finzel: you Karen Churchill: pear. Dawn Finzel: had Leigh Brown: uh Dawn Finzel: a Leigh Brown: the Dawn Finzel: picture of it from another company. Lori Parekh: It has to be developed, Leigh Brown: Yeah. Lori Parekh: but no, but it that's that's Leigh Brown: It's Lori Parekh: our Leigh Brown: just Lori Parekh: that's Leigh Brown: an Lori Parekh: our Leigh Brown: it's just Lori Parekh: killer Leigh Brown: an idea. Lori Parekh: feature. That's Leigh Brown: It's Lori Parekh: our Dawn Finzel: Yes, Leigh Brown: a it's Dawn Finzel: it Lori Parekh: what Dawn Finzel: was Lori Parekh: makes Dawn Finzel: already Lori Parekh: it special. Dawn Finzel: made. Tha the remote control Lori Parekh: Yeah, Leigh Brown: True. Lori Parekh: we're gonna Dawn Finzel: on the docking Lori Parekh: develop Dawn Finzel: station. Lori Parekh: our own r Karen Churchill: Is Lori Parekh: n Karen Churchill: that Lori Parekh: docking Karen Churchill: so? Lori Parekh: station. Karen Churchill: Was it Dawn Finzel: Yes, he Leigh Brown: Well Dawn Finzel: have Karen Churchill: it Leigh Brown: uh Dawn Finzel: a picture Karen Churchill: wasn't just Leigh Brown: I Dawn Finzel: of Leigh Brown: uh Karen Churchill: a Dawn Finzel: it. Karen Churchill: prototype? Leigh Brown: Yeah, I dunno. Karen Churchill: Exactly, I've never seen it Lori Parekh: Uh, Karen Churchill: in Lori Parekh: but Karen Churchill: a store. Lori Parekh: 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 Leigh Brown: No, it's too much. Karen Churchill: I think it's a little too much, yeah. Leigh Brown: It's overdone. Lori Parekh: Okay, we s skip Dawn Finzel: Okay. Lori Parekh: the L_C_D_ display. Karen Churchill: Okay. Lori Parekh: I'm sorry, maybe Leigh Brown: Democratically. Lori Parekh: you can Karen Churchill: No. Lori Parekh: do something if we are at your own place, or make it make Dawn Finzel: Mayb Lori Parekh: it make it happen in your basement or something. Dawn Finzel: I will Lori Parekh: But Dawn Finzel: rule the world with Karen Churchill: Yeah, Lori Parekh: Probably Karen Churchill: yeah, yeah, yeah. Lori Parekh: so. Okay. Dawn Finzel: it. Lori Parekh: But for the technical part. The m material, I think uh it was a good idea to use the plastic and uh the rubber. Dawn Finzel: Yes, Lori Parekh: Uh Dawn Finzel: maybe a bit of a cushion is Lori Parekh: Yeah yeah yeah, p Exactly. This Karen Churchill: Yeah, Lori Parekh: is what Karen Churchill: for Lori Parekh: it Karen Churchill: the Lori Parekh: w Karen Churchill: spongy uh Lori Parekh: Yeah, but Dawn Finzel: Yes. Karen Churchill: feel. Lori Parekh: it it was already Leigh Brown: With a spongy Lori Parekh: what Karen Churchill: Yeah. Lori Parekh: we're Leigh Brown: Bob feel. Lori Parekh: uh we're after, you know, to give it uh, you know, the soft touch in your hands Leigh Brown: Yeah. Lori Parekh: and also to, know, like Yeah, that is y the b airbag Dawn Finzel: Like a Lori Parekh: kind of Dawn Finzel: b Lori Parekh: thing. Dawn Finzel: yes. Lori Parekh: You Leigh Brown: Yeah, Lori Parekh: can st Leigh Brown: you just Karen Churchill: Yeah, Leigh Brown: can Karen Churchill: airbag. Leigh Brown: drop it. Lori Parekh: throw it at your Leigh Brown: Yeah. Lori Parekh: little brother's Karen Churchill: If you drop Lori Parekh: head. Karen Churchill: it if you drop it the airbag comes out, Leigh Brown: Yeah. Karen Churchill: yeah. Lori Parekh: Yeah. No no no, not that Dawn Finzel: Maybe Lori Parekh: comfy. Dawn Finzel: it but then we have to look that it uh w uh will not um be too childish to see. Lori Parekh: 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, Karen Churchill: Yeah. Lori Parekh: because it may be the design uh, it's uh maybe it is a bit of Leigh Brown: But Lori Parekh: the Leigh Brown: not black I think. Lori Parekh: it's a bit nineties Karen Churchill: No. Lori Parekh: maybe, what we're what we're up to rat fun to Leigh Brown: Well Lori Parekh: this point. Leigh Brown: if if it's fruit and vegetables, it have to be colourful. Lori Parekh: Yeah, that's Karen Churchill: Yeah, Lori Parekh: that's true, but Karen Churchill: b Leigh Brown: But Karen Churchill: yeah, Leigh Brown: can Karen Churchill: that's Leigh Brown: we Karen Churchill: what Leigh Brown: ge uh Karen Churchill: w I I Lori Parekh: but Karen Churchill: was Lori Parekh: it Leigh Brown: uh Lori Parekh: has Karen Churchill: pointing Lori Parekh: to be Karen Churchill: at. Lori Parekh: a little big solid. It mustn't be too, n you know, th too overwhelming, then when you put it Leigh Brown: Can Lori Parekh: on Leigh Brown: we Lori Parekh: your Leigh Brown: combine Lori Parekh: just Leigh Brown: it or something? Uh with Lori Parekh: Yeah. Leigh Brown: uh yellow and black? Lori Parekh: Yeah, maybe so. Leigh Brown: Make it a bee? Karen Churchill: What? Leigh Brown: A bee. Karen Churchill: Oh, a bee. Oh. Lori Parekh: No, uh I don't like the yellow and black combination. But it is our company colours. Dawn Finzel: Yes, Lori Parekh: Apparently. Leigh Brown: Yeah, Dawn Finzel: real real Leigh Brown: it's our Dawn Finzel: good colours. Leigh Brown: yeah. We we have to use yellow. Karen Churchill: Yeah. Hmm. Dawn Finzel: Hmm. Lori Parekh: I don't like yellow, and uh maybe Karen Churchill: Well, Lori Parekh: I Karen Churchill: we Lori Parekh: don't Karen Churchill: can Lori Parekh: know. Karen Churchill: as as I Dawn Finzel: But that's not really fruity. Karen Churchill: draw really nicely over there. We can put the logo on our uh on our base station. Uh, yeah. And maybe Lori Parekh: But Karen Churchill: very very tiny on the remote control itself. But, i Lori Parekh: Okay, but what uh, what are other tef technical things we have to discuss? Dawn Finzel: Uh fronts of the We can have uh different uh uh fronts of the Lori Parekh: Should we do that? Dawn Finzel: telephone. Lori Parekh: I don't think you we should do that. Maybe just bring it Leigh Brown: Different Lori Parekh: out in different Leigh Brown: fronts. Lori Parekh: colours, but not Karen Churchill: Yeah. Lori Parekh: af that you can Karen Churchill: I Lori Parekh: switch Karen Churchill: guess that's that's Lori Parekh: fronts Karen Churchill: enough. Lori Parekh: afterwards, that's also too much. People Karen Churchill: That's Lori Parekh: don't Karen Churchill: way too Lori Parekh: wanna Karen Churchill: Nokia. Lori Parekh: spend more money Leigh Brown: Yeah. Lori Parekh: on their remote control, I guess. Leigh Brown: Uh, you can you can l uh Dawn Finzel: Are these designs? Leigh Brown: let choose the customer which colour he wants, Lori Parekh: Yeah, Leigh Brown: yeah. Lori Parekh: yeah. Karen Churchill: Yeah, definitely. Leigh Brown: Yeah, Three Karen Churchill: Just bring Leigh Brown: three Karen Churchill: more Leigh Brown: or Karen Churchill: designs Leigh Brown: four Karen Churchill: on the market. Leigh Brown: uh four uh colours, Lori Parekh: But Leigh Brown: or Lori Parekh: uh, Leigh Brown: something Karen Churchill: Why Lori Parekh: without Karen Churchill: not, Leigh Brown: like that. Lori Parekh: gon Karen Churchill: yeah. Lori Parekh: uh okay. So, are we through the technical part then? Dawn Finzel: Yes. Lori Parekh: Okay. So we uh agreed upon uh n uh well, not u Dawn Finzel: It Lori Parekh: unanimously Leigh Brown: Well, yeah, the Dawn Finzel: this a real Lori Parekh: or how you call Dawn Finzel: uh Lori Parekh: it, Dawn Finzel: young Leigh Brown: Three Lori Parekh: but Leigh Brown: to one. Dawn Finzel: young and dynamic Lori Parekh: Yeah. Leigh Brown: That's Dawn Finzel: uh uh styles. Lori Parekh: The materials you uh mentioned in your your personal Dawn Finzel: Yes. Lori Parekh: preferences were all were quite okay. O Leigh Brown: And Dawn Finzel: Yes, Leigh Brown: tita Lori Parekh: o only only Leigh Brown: uh Lori Parekh: the Leigh Brown: titanium, Lori Parekh: last point your Leigh Brown: is uh is Lori Parekh: no titanium's Leigh Brown: is it a no? Lori Parekh: not not Leigh Brown: Is Lori Parekh: out of question, I guess. Dawn Finzel: But Leigh Brown: It's Dawn Finzel: also Leigh Brown: just like that, Dawn Finzel: w Leigh Brown: th this titanium. Dawn Finzel: Yes, b bu but Lori Parekh: But Dawn Finzel: when Lori Parekh: is Dawn Finzel: we Lori Parekh: it Dawn Finzel: use Lori Parekh: possible Dawn Finzel: s Lori Parekh: to use Dawn Finzel: soft Lori Parekh: both the the Dawn Finzel: mm Lori Parekh: plastic and so uh soft things and t p titanium, as well? Karen Churchill: Sure. Lori Parekh: Makes Dawn Finzel: Mm. Lori Parekh: it in a homogeneous Leigh Brown: No, not all, Lori Parekh: uh Leigh Brown: not all Lori Parekh: design. Leigh Brown: of them. Dawn Finzel: 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 Lori Parekh: It Dawn Finzel: with Lori Parekh: will Dawn Finzel: uh Lori Parekh: it Dawn Finzel: titanium Lori Parekh: will break other stuff w Dawn Finzel: with Lori Parekh: when Dawn Finzel: your remote Lori Parekh: it's plastic, Dawn Finzel: control. Lori Parekh: as well. Dawn Finzel: No uh, Lori Parekh: Yeah. Dawn Finzel: titanium Karen Churchill: Yeah, that's Dawn Finzel: is a Karen Churchill: true. Dawn Finzel: bit uh Lori Parekh: No, but uh uh, you Dawn Finzel: it's Lori Parekh: should Dawn Finzel: a bit Lori Parekh: ma Dawn Finzel: harder. Lori Parekh: Yeah. Dawn Finzel: But also on the colours, the Lori Parekh: Okay, Dawn Finzel: young Lori Parekh: think of the possibilities and make it in completely titanium. Well would it be more trendy? More chic? Karen Churchill: Yeah, I think it Leigh Brown: Uh, I think Karen Churchill: I think Leigh Brown: titanium Karen Churchill: it does. Leigh Brown: nowadays is way more often used than plastic. Dawn Finzel: Yes, but a titanium Leigh Brown: In trendy things. Dawn Finzel: remote control, when you're uh watching T_V_ uh or your hands Karen Churchill: Yeah, Dawn Finzel: are Karen Churchill: o Dawn Finzel: a little bit sweaty, and the Karen Churchill: On the other hand, if you want Leigh Brown: Yeah. Karen Churchill: to make fruit fruity Leigh Brown: It's cold Karen Churchill: stuff Leigh Brown: in the winter. Karen Churchill: with Dawn Finzel: Yes. Karen Churchill: uh Lori Parekh: Yeah, but I I really like the idea of the the the plastic and the big kind of Leigh Brown: Yeah. Lori Parekh: thing. But the question is i then it's, you know, is is Karen Churchill: Yeah, Lori Parekh: it Karen Churchill: that's Lori Parekh: fits Karen Churchill: true, Lori Parekh: in our Karen Churchill: that's Lori Parekh: s philosophy Karen Churchill: true. Lori Parekh: to make it uh sturdy and simple and uh, know, like uh Dawn Finzel: Sports and gaming. Lori Parekh: When Dawn Finzel: Define. Lori Parekh: 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 Karen Churchill: Yes. Leigh Brown: You Lori Parekh: around. Karen Churchill: Yeah. Leigh Brown: have that uh M_P_ three player of Nike, I saw. Isn't that titanium with a little bit of rubber? Dawn Finzel: Yes, it's w Leigh Brown: Isn't it Dawn Finzel: but it is uh plastic. Leigh Brown: Is plastic? Well, it's titanium looking. Dawn Finzel: Yes, Karen Churchill: What? Dawn Finzel: w we can do that on Leigh Brown: Yeah, Dawn Finzel: the Leigh Brown: he is. Here Dawn Finzel: on the Leigh Brown: he is. Uh, the I don't know if you know the M_P_ three player of Nike. 'Kay, uh that Karen Churchill: Oh, yeah. Leigh Brown: that's Karen Churchill: Okay, Leigh Brown: very Karen Churchill: yeah. Leigh Brown: uh with rubber, Lori Parekh: Yeah, Karen Churchill: Yeah, Leigh Brown: so Karen Churchill: I Lori Parekh: that's Leigh Brown: it's Karen Churchill: see. Lori Parekh: beautiful. Leigh Brown: very Dawn Finzel: We can Karen Churchill: Yeah, but Dawn Finzel: make Karen Churchill: but Dawn Finzel: this Karen Churchill: but Dawn Finzel: as Leigh Brown: rough. Dawn Finzel: a style too. Uh, this is uh just Lori Parekh: Oh, Karen Churchill: Yeah, Lori Parekh: maybe Dawn Finzel: a Karen Churchill: I Lori Parekh: th Karen Churchill: th Lori Parekh: maybe Karen Churchill: I think Lori Parekh: this is Karen Churchill: that's Lori Parekh: an Karen Churchill: difficult, because uh that's different material, and then you gotta have like uh uh uh two material lines Dawn Finzel: No, Karen Churchill: of Dawn Finzel: we Karen Churchill: of Dawn Finzel: c we can Karen Churchill: of Dawn Finzel: make it from the same kind of plastic. Karen Churchill: 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 Dawn Finzel: Uh Lori Parekh: 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 Karen Churchill: Yeah. Lori Parekh: know, like the the soft stuff, but I don't know if it's possible. Dawn Finzel: I don't have the information. Uh, I I didn't got it Lori Parekh: But you can't make the plastic give uh the ti titanium look. Dawn Finzel: Yes. Leigh Brown: True. Lori Parekh: But make Karen Churchill: Mm-hmm. Lori Parekh: it just like shiny. Leigh Brown: Yeah yeah, true. Lori Parekh: Maybe Dawn Finzel: Like Lori Parekh: we should Dawn Finzel: the Lori Parekh: uh Dawn Finzel: M_P_ Lori Parekh: shou Leigh Brown: Yeah, Dawn Finzel: three player. Leigh Brown: maybe that's good idea, yeah. But if you want to la uh yeah, last longer Karen Churchill: Yeah. Leigh Brown: than two weeks or something Lori Parekh: And Leigh Brown: like Lori Parekh: uh and Leigh Brown: that, you can maybe Lori Parekh: maybe we sh should we t I don't know if we should talk about uh, how how much time Dawn Finzel: Uh, in Lori Parekh: have Dawn Finzel: a Lori Parekh: we Dawn Finzel: lot Lori Parekh: got left? Dawn Finzel: of other uh Leigh Brown: I don't know. What time Lori Parekh: Forty Leigh Brown: does Lori Parekh: minutes. Dawn Finzel: 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 Karen Churchill: Yeah. Dawn Finzel: w kind of fon of uh of fronts, Lori Parekh: Okay. Dawn Finzel: 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 Lori Parekh: You putting Dawn Finzel: and Lori Parekh: in different colours. Dawn Finzel: Yes, and and styles. Lori Parekh: Okay. Dawn Finzel: They have uh also uh a kind of uh um uh roses on it, a and Karen Churchill: Uh Dawn Finzel: uh Karen Churchill: yeah, Lori Parekh: Okay. Karen Churchill: yeah. Lori Parekh: Yeah, but w yeah. Well, it is. It's a possibility. But, let's think Dawn Finzel: Then Lori Parekh: about the Dawn Finzel: we Lori Parekh: bas Dawn Finzel: can always uh use the same design for a greater resemblance, but with new uh Karen Churchill: Yes. Dawn Finzel: with new colours, new Karen Churchill: New prints Lori Parekh: Mm-hmm, Dawn Finzel: yes. Karen Churchill: on it. Yep. Lori Parekh: 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? Karen Churchill: How do you mean? Th th the uh Leigh Brown: The rubber. Karen Churchill: base Lori Parekh: How many Karen Churchill: in a Lori Parekh: colours Karen Churchill: in another Lori Parekh: are we how many colours are we gonna we're uh uh f uh f Only five minutes left, by the way. Karen Churchill: Yes. Lori Parekh: How many colours are we gonna give it? Like two-tone Dawn Finzel: There Lori Parekh: colour? T Leigh Brown: Yeah. Dawn Finzel: there Leigh Brown: Uh Dawn Finzel: are three Leigh Brown: no, not Dawn Finzel: uh components Leigh Brown: too much I think. Dawn Finzel: three components type. You have the buttons, the the Karen Churchill: How the buttons Dawn Finzel: case Karen Churchill: yeah. Dawn Finzel: uh itself, Lori Parekh: I think maybe the case Dawn Finzel: and the Lori Parekh: itself Dawn Finzel: rubber Lori Parekh: should Dawn Finzel: and th Lori Parekh: be in one colour and then the rubber of the buttons, and the cushions Dawn Finzel: Yes. Lori Parekh: as well should be in another Leigh Brown: Or Lori Parekh: colour. Leigh Brown: you just Karen Churchill: Yeah. Leigh Brown: make uh one colour, uh maybe with a a z a kind of like a big wave or something like uh Lori Parekh: Okay, but not Leigh Brown: In Lori Parekh: more Leigh Brown: in Lori Parekh: than Leigh Brown: another colour. Lori Parekh: Well, yeah, Leigh Brown: Not Lori Parekh: it's Leigh Brown: more than two colours Lori Parekh: No. Leigh Brown: I think. Karen Churchill: No, Leigh Brown: It's Karen Churchill: definitely Leigh Brown: a g a Karen Churchill: not. Leigh Brown: little Lori Parekh: Maybe we should Leigh Brown: bit too Lori Parekh: talk Leigh Brown: flashy. Lori Parekh: about it on a l in Karen Churchill: Yes, Lori Parekh: a Dawn Finzel: Yeah, Lori Parekh: later meeting. Dawn Finzel: or Karen Churchill: definitely. Dawn Finzel: or when you use the buttons as black, it you can use two colours as well Lori Parekh: Okay. Dawn Finzel: uh Lori Parekh: But we have to uh think of some other uh important things. Uh oh yeah, the the functionalities Leigh Brown: The Lori Parekh: of Leigh Brown: funct Lori Parekh: the the Leigh Brown: yeah, Lori Parekh: buttons. Leigh Brown: I was I was thinking about th the st do we still want a joystick idea. Lori Parekh: No. Karen Churchill: No, I think that's too vulnerable. Leigh Brown: Yeah. Lori Parekh: I think this is okay, the so we have the basic. Then we have the numbers. We have the power button. We have Leigh Brown: The Lori Parekh: we have a teletext button. Leigh Brown: volume, teletext and Lori Parekh: And maybe want to access a a menu or something. Karen Churchill: Yeah, but Lori Parekh: Most Karen Churchill: that's Lori Parekh: T_V_s Karen Churchill: that's Lori Parekh: have a Karen Churchill: I Lori Parekh: menu. Karen Churchill: was thinking that's gotta be on the television. Lori Parekh: Yeah, but Leigh Brown: Yeah Lori Parekh: I think Leigh Brown: yeah yeah Lori Parekh: you ha Leigh Brown: yeah, Lori Parekh: I really need Leigh Brown: b Lori Parekh: a menu button. That's just i the Leigh Brown: Yeah, Lori Parekh: only Leigh Brown: but Lori Parekh: button Leigh Brown: wha what Lori Parekh: only Leigh Brown: kind of menu? Lori Parekh: You know, Leigh Brown: Is Lori Parekh: I Leigh Brown: uh isn't that different from every television? Lori Parekh: No, I think most T_V_s Karen Churchill: Mm. Lori Parekh: have an uh Karen Churchill: Yeah, Lori Parekh: a Karen Churchill: if Lori Parekh: menu Karen Churchill: it's c Lori Parekh: nowadays Karen Churchill: if Lori Parekh: to access the uh uh screen settings. And Karen Churchill: Yeah, Lori Parekh: so Karen Churchill: I think it's okay to to add a menu button for uh Lori Parekh: But that Karen Churchill: and if Lori Parekh: that Karen Churchill: the Lori Parekh: covers Karen Churchill: T_V_ doesn't Lori Parekh: all the Karen Churchill: have a menu, Lori Parekh: all the Karen Churchill: then Lori Parekh: other settings. It covers everything then. Dawn Finzel: But then Karen Churchill: Yeah. Dawn Finzel: you have to put uh up and down and uh left Karen Churchill: Yeah, Dawn Finzel: and right Karen Churchill: you Lori Parekh: No, Karen Churchill: can Lori Parekh: you can Karen Churchill: put Lori Parekh: use Karen Churchill: that on Lori Parekh: the Karen Churchill: the two eight four and six Lori Parekh: And you Karen Churchill: or Lori Parekh: al Karen Churchill: whatever. Lori Parekh: can also use the normal Dawn Finzel: Okay. Lori Parekh: skip buttons for that. Th in that way Karen Churchill: Mm, Lori Parekh: we Karen Churchill: yeah. Lori Parekh: have like only the numbers, the power button, skip and volume, and then uh uh ten uh rem Karen Churchill: A mute and Lori Parekh: uh yeah, Karen Churchill: a Leigh Brown: Mute. Karen Churchill: teletext Lori Parekh: mute. A teletext Karen Churchill: and a menu. Lori Parekh: and a menu, and then then i Karen Churchill: That's Lori Parekh: that's Karen Churchill: all. Lori Parekh: it. It's all we need. Leigh Brown: Yeah. Karen Churchill: Hmm. Lori Parekh: Okay, Karen Churchill: Great. Lori Parekh: uh Karen Churchill: Yeah. Leigh Brown: Okay, that's not mu Lori Parekh: another Leigh Brown: not Lori Parekh: stuf Leigh Brown: much functions. Lori Parekh: some stuff Leigh Brown: So Lori Parekh: 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. Karen Churchill: Yeah, definitely. Lori Parekh: Uh, in one colour. Karen Churchill: Are we gonna Lori Parekh: Just Karen Churchill: do Lori Parekh: use Karen Churchill: something with the uh spongy thing there? Lori Parekh: I think the Dawn Finzel: Uh Lori Parekh: spongy thing already um comes forward in the in the in the cushions, pads and Karen Churchill: Yeah, Lori Parekh: things on the Karen Churchill: that's Lori Parekh: s uh Karen Churchill: true, Lori Parekh: side. Karen Churchill: that's Lori Parekh: And we Karen Churchill: true. Lori Parekh: 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 Karen Churchill: Yeah, it's kinda fruity, and with th with catchy colours uh Lori Parekh: Yeah, Karen Churchill: uh Lori Parekh: but we're gonna have Karen Churchill: w Lori Parekh: 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 Karen Churchill: Yeah, Lori Parekh: it on Karen Churchill: definitely. Lori Parekh: 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 Karen Churchill: Yeah. Lori Parekh: to that. Okay. Karen Churchill: Okay. Lori Parekh: Guess we're through then. Karen Churchill: I Leigh Brown: Okay. Karen Churchill: guess so. Lori Parekh: 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 Karen Churchill: Yes. Lori Parekh: that's Leigh Brown: Yeah. Lori Parekh: uh adds to the too much colour maybe m Leigh Brown: Too much Lori Parekh: um Leigh Brown: colour, i it uh when you got it in a living room, it's Lori Parekh: But Leigh Brown: too Lori Parekh: our Leigh Brown: much Lori Parekh: des Leigh Brown: maybe. Lori Parekh: design Karen Churchill: Yea yeah. Lori Parekh: experts Leigh Brown: It Lori Parekh: will Leigh Brown: has to Lori Parekh: uh Leigh Brown: be Lori Parekh: work that out. Okay, Karen Churchill: Yep. Lori Parekh: well Leigh Brown: Yeah. Lori Parekh: I think the meeting will be over within a minute. So Karen Churchill: Something Lori Parekh: we will Karen Churchill: like Lori Parekh: wrap Karen Churchill: that. Lori Parekh: up. Or is there anything we'd like to discuss? Karen Churchill: I guess not. Lori Parekh: That's right. Okay. Karen Churchill: Do you, guys? Leigh Brown: No. Karen Churchill: No? Lori Parekh: Okay. Well, you will read the minutes uh in the you can find them Karen Churchill: In Lori Parekh: in Karen Churchill: the shared Lori Parekh: the Leigh Brown: Oh, okay, Karen Churchill: folder. Leigh Brown: yeah. Lori Parekh: pro probably. Yeah uh no, for su for sure because I'm will now type them out. Dawn Finzel: What are we going to do now? Lori Parekh: Uh, Karen Churchill: You'll Lori Parekh: y yeah. Karen Churchill: see in you email, Leigh Brown: Yeah. Karen Churchill: I guess. Lori Parekh: I think uh Karen Churchill: Yeah, I don't know. I don't know. Leigh Brown: 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 Dawn Finzel: I Leigh Brown: a Dawn Finzel: will Leigh Brown: little Dawn Finzel: make one Leigh Brown: bit more Dawn Finzel: in the Leigh Brown: uh Dawn Finzel: next uh twenty minutes. Leigh Brown: Yeah. Karen Churchill: Construct one, yeah. Lori Parekh: But Leigh Brown: With you laptop? Lori Parekh: toilet paper roll Leigh Brown: Yeah. Lori Parekh: and uh Okay. Leigh Brown: Oh my God. Karen Churchill: Alright, shall we get back to work? Lori Parekh: Yep. Karen Churchill: Great. Lori Parekh: I was waiting for Leigh Brown: Well Lori Parekh: the Leigh Brown: you Lori Parekh: l Leigh Brown: are. Lori Parekh: last Karen Churchill: Yeah. Lori Parekh: message, Leigh Brown: We're not. Lori Parekh: but Karen Churchill: Bastard. Dawn Finzel: Back to the pen. Karen Churchill: You lazy Lori Parekh: Mm yeah.

Dawn Finzel 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. Leigh Brown went over the functions to be included in the remote. The group discussed using large buttons for the most frequently used functions. Karen Churchill 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. Lori Parekh closed the meeting and told the group they would receive emails about their tasks for the next meeting.

amisum

train

Kathryn Carroll: I dunno. Throwing away my toothpick. Pauline Cooke: Hi there. Mary Rodriguez: Yo. Ow. Kathryn Carroll: 'Kay. Mary Rodriguez: Uh Kathryn Carroll: Nice user interface. Mary Rodriguez: Yeah. What the Uh Yeah well, ja well let's just start. Kathryn Carroll: 'Kay. Mary Rodriguez: I've uh made a presentation Kathryn Carroll: Right let's Mary Rodriguez: uh Kathryn Carroll: see it. Mary Rodriguez: but uh I'll open it on the Smartboard, so we can all see it. So it's in the project documents because that's what we can find here. Well. Very nice. Well this is called the the the kick-off meeting. So uh I'm Mary Rodriguez, so I had to fill it in, Kathryn Carroll: 'Kay. Mary Rodriguez: and uh hmm. Oh sorry. And an uh a nice agenda. Uh we'll do the opening and then uh we'll meet each other, what uh we already do, so, that's not uh very much trouble. I'll I'll show you the the tools we have here, so that we can all use them. Then uh we'll look at the project plan from uh Real Reaction. We'll discuss about our first ideas about the project, and then uh we'll close the meeting, and then we can uh individually uh do our things and then uh we'll get back here. So this the opening we'll uh We have to uh design a new television remote control. You have heard that uh already I think, so. Kathryn Carroll: Mm-hmm. Mary Rodriguez: Um we want it to be original, so a nice uh a nice new design. Uh trendy, it's also for young people, and we have to just uh make it uh modern. And uh friendly, so size does matter. And uh Well it has to be a have the the right uh the right buttons on the right place, that kin Stefani Chavez: Mm-hmm. Mary Rodriguez: those kind of things. Other uh There happen to be uh three stages. functional, conceptual, and d detailed design. Um so every time we we'll do some individual work, get meeting, talk about it, uh and then go into the next phase. That's just it. Um We have uh these two Smartboards. Um well as I just showed, there's a project management folder, a project document folder on the desktop. It just works exactly the same as a computer. You just uh click on the on the folder and you open the everything you you put in it with your laptop. So you can uh make uh Words Excel, everything. Um and the w the r uh the rest uh also works the same so uh when you open a notepad you uh you just get your uh things, you can uh draw. This is a uh well a drawing board. you have a these different uh functions on the board. You can see them there. So you have a a nice pen, and it's works just like a bal ball pen. This is just a. I want to uh Oh yeah. Of course w doesn't work any more. Stefani Chavez: Maybe you should try write on the on the big uh Does it? Yeah. Mary Rodriguez: Yes I Stefani Chavez: It Mary Rodriguez: will Stefani Chavez: works. Mary Rodriguez: eraser so. It's Stefani Chavez: Wonderful. Mary Rodriguez: fantas fantastic. We can uh uh well you can save a file. So if uh we draw we have to save everything. Don't throw anything away. Stefani Chavez: Mm-hmm. Mary Rodriguez: Uh just we can start a new one, and we just go on, and don't throw anything away. Just uh let them all uh stand here. We can delete, but we don't do that. Um you can here select a pen, you can draw anything you want. It's a bit uh childish you have to write. It's not as fast as you w you know it, but it does work sometimes. Well it's just like a normal uh paint. So it's gone. Stefani Chavez: Alright, yep. Mary Rodriguez: Well we are designers, so we have to have a a more uh a Smartboard. So that's fantastic. Um well this uh speaks for itself. We going to try it. So um we all uh are going to uh draw a nice animal on this board, not my idea. Kathryn Carroll: Alright, your favourite animal? Mary Rodriguez: Yes our your favourite. So um I'm to going to have to draw a kangaroo, but I'm going d I'm not going to. I'm just uh going to uh well draw a nice uh beast w I dunno Kathryn Carroll: Grizzly Mary Rodriguez: what I'm going Kathryn Carroll: bear. Mary Rodriguez: to design. Oh um doesn't Stefani Chavez: I hope Mary Rodriguez: oh. Stefani Chavez: this was part of the Mary Rodriguez: Yeah, Stefani Chavez: assignment Mary Rodriguez: 'kay. Stefani Chavez: and not uh your uh Mary Rodriguez: Hmm? Stefani Chavez: I hope this was part of the assignment and not uh your personal uh enjoyment. Mary Rodriguez: I just said it's Kathryn Carroll: Yeah. Mary Rodriguez: not my idea but I am Mary Rodriguez, and officially this is my idea. Stefani Chavez: I I Mary Rodriguez: So Stefani Chavez: I I understand. Kathryn Carroll: We're kinda Stefani Chavez: Alright. Kathryn Carroll: losing time, though. Mary Rodriguez: what? Kathryn Carroll: We're losing time, Mary Rodriguez: Ah Kathryn Carroll: but Stefani Chavez: so start Mary Rodriguez: the first the first meeting is just a bit uh loose, Kathryn Carroll: Alright. Mary Rodriguez: loosen up, a bit uh meeting each other well uh uh Stefani Chavez: Yep Mary Rodriguez: nice yeah. Stefani Chavez: yes. Mary Rodriguez: Sh I hope our Industrial Designer does this better because uh this is Stefani Chavez: Don't Mary Rodriguez: uh Stefani Chavez: count it Mary Rodriguez: No so a a few Kathryn Carroll: Do Mary Rodriguez: legs. Kathryn Carroll: we have to guess? A Mary Rodriguez: Yes yes guess. Kathryn Carroll: hippo? Mary Rodriguez: Well Stefani Chavez: I Mary Rodriguez: I should make it an hippo now. Kathryn Carroll: Yeah. Stefani Chavez: think it's a mouse or a rat. Mary Rodriguez: No I don't think so. Stefani Chavez: Oh. Oh I know it. Mary Rodriguez: Well what is it, huh? Stefani Chavez: It's Kathryn Carroll: I Stefani Chavez: a Kathryn Carroll: don't Stefani Chavez: hedgehog. Kathryn Carroll: know how to call it. Mary Rodriguez: Yeah Kathryn Carroll: A hedgehog? Mary Rodriguez: difficult English word. I didn't knew it myself. Stefani Chavez: Well I'm amazed uh about your uh drawing skills. Mary Rodriguez: Our characteristics sum it up. Well it's uh very uh painful those kind of thing. So we can uh just uh Stefani Chavez: Yeah. Mary Rodriguez: We're going back and now uh our Industrial Designer can Kathryn Carroll: Alright. Mary Rodriguez: uh draw its Stefani Chavez: I Mary Rodriguez: uh Stefani Chavez: am the Industrial Mary Rodriguez: most Stefani Chavez: Designer. Mary Rodriguez: favourite animal. Huh. Stefani Chavez: Chief, I am Stefani Chavez. Mary Rodriguez: Oh uh but this uh marketing designer. Stefani Chavez: Yeah. I think It's pr it resembles the animal drawn by. Kathryn Carroll: It's. Mary Rodriguez: what kind of animal is that then? Stefani Chavez: I think can I say it? Kathryn Carroll: Yeah sure. It's a rabbit. Well Looks very nice, right? Mary Rodriguez: Yeah. Stefani Chavez: It looks amazing. Mary Rodriguez: No no no. What are you going to do? Pauline Cooke: We want to erase it. Mary Rodriguez: No no. No no save it and start a new uh save it Kathryn Carroll: Yes. Stefani Chavez: These are very Mary Rodriguez: and start Stefani Chavez: impor Mary Rodriguez: a new black uh doc a Stefani Chavez: These Mary Rodriguez: blank Stefani Chavez: are very Mary Rodriguez: document. Stefani Chavez: important documents, of course, uh these drawings, Mary Rodriguez: Yeah well we have Stefani Chavez: uh Kathryn Carroll: Yes Mary Rodriguez: to save Kathryn Carroll: uh Mary Rodriguez: everything so now Kathryn Carroll: right. Mary Rodriguez: um the next one uh Kathryn Carroll: You go man. Mary Rodriguez: and then save Pauline Cooke: Thanks. Mary Rodriguez: it and start an blank document. Yeah. There's also different colours and different uh well pen widths uh the line the the thickness thickness. So Kathryn Carroll: Alright. Mary Rodriguez: um well you should uh try it but uh Kathryn Carroll: I should have made mine a white rabbit. Mary Rodriguez: Well y y y you could have but uh. Stefani Chavez: And he deliberately Mary Rodriguez: It Stefani Chavez: draws Mary Rodriguez: speaks for Stefani Chavez: a Mary Rodriguez: itself. Stefani Chavez: animal we don't know the English word for. Mary Rodriguez: What the Stefani Chavez: It looks like an uh Mary Rodriguez: uh just a duck. Stefani Chavez: It looks like that beast from Sesame Street. Mary Rodriguez: Nice. Stefani Chavez: Yeah. Pauline Cooke: Big bird. Mary Rodriguez: Is Kathryn Carroll: You're Mary Rodriguez: it Kathryn Carroll: standing Mary Rodriguez: a duck? Kathryn Carroll: in front Stefani Chavez: It's Kathryn Carroll: of it, I Stefani Chavez: it's Kathryn Carroll: can't see Stefani Chavez: uh Mary Rodriguez: Is it a plane? Kathryn Carroll: it. Alright, thank you. Yeah it's a bird, but what kind of bird? Mary Rodriguez: It doesn't draw uh Stefani Chavez: Do we have Mary Rodriguez: circles Stefani Chavez: to uh Mary Rodriguez: uh that easy uh. Kathryn Carroll: You have to push harder. Mary Rodriguez: Yeah Pauline Cooke: Mm. Mary Rodriguez: just a bit a bit childish, a bit. Stefani Chavez: But we have uh Kathryn Carroll: Release Stefani Chavez: do Kathryn Carroll: your anger. Stefani Chavez: we have to name the specific species of the bird? Pauline Cooke: Uh Stefani Chavez: No? Pauline Cooke: no I don't. It's just a bird. Stefani Chavez: Well Mary Rodriguez: Well Stefani Chavez: wonderful. Mary Rodriguez: uh save the document and then uh And then a a new blank document for. uh will uh Pauline Cooke: Here Mary Rodriguez: choose Pauline Cooke: you go. Mary Rodriguez: a new colour and a new pen width so w Stefani Chavez: Why Mary Rodriguez: we can Stefani Chavez: do Mary Rodriguez: all Stefani Chavez: I Mary Rodriguez: see Stefani Chavez: have to Mary Rodriguez: it. Stefani Chavez: do the difficult tasks? Uh Mary Rodriguez: No well first Stefani Chavez: pen Mary Rodriguez: yeah. Stefani Chavez: yeah that's. Mary Rodriguez: And then you go to format I think, Stefani Chavez: Uh current Mary Rodriguez: and Stefani Chavez: colour. Mary Rodriguez: current colour you choose a new colour. And Stefani Chavez: I Mary Rodriguez: a Stefani Chavez: like Mary Rodriguez: new Stefani Chavez: uh Pauline Cooke: Mm. Stefani Chavez: oh they don't have pink. Oh b oh think this Mary Rodriguez: pen Stefani Chavez: is uh Mary Rodriguez: width uh also format. It's not like in paint. Stefani Chavez: Uh? Uh Mary Rodriguez: Line width. And you can choose Stefani Chavez: Line Mary Rodriguez: a nice Stefani Chavez: width. Mary Rodriguez: one. Pauline Cooke: Width. Mary Rodriguez: Width width. Stefani Chavez: Uh Mary Rodriguez: With each other. Stefani Chavez: fifteen. And Pauline Cooke: Hmm. Stefani Chavez: I can draw? Mary Rodriguez: Yeah. So. Just Stefani Chavez: Uh Mary Rodriguez: a wa that's the way we do it's quite easy. Kathryn Carroll: Hmm. Mary Rodriguez: Mm-hmm. Pauline Cooke: It's a pussy cat. Kathryn Carroll: It's a cat. Mary Rodriguez: Oh Pussy. Stefani Chavez: Oh the line width is too thick, but oh Mary Rodriguez: Well Stefani Chavez: well. Mary Rodriguez: then you change it. And erase things. Stefani Chavez: Uh. Mary Rodriguez: What? Kathryn Carroll: It's a pig. Stefani Chavez: It smiles nicely. Mary Rodriguez: Super pig. Stefani Chavez: Now I have to change the line width. Uh one. Mary Rodriguez: So Stefani Chavez: These are whiskers, you know. Mary Rodriguez: Yeah yeah yeah Kathryn Carroll: Right. Mary Rodriguez: we know. Stefani Chavez: Uh well I think it's obvious right now. Mary Rodriguez: Yes alright. It's a cat. Kathryn Carroll: No it looks great. Stefani Chavez: Miaow. Well if this isn't obvious Mary Rodriguez: Well well um Kathryn Carroll: Just save it. Mary Rodriguez: Yeah Stefani Chavez: I'll Mary Rodriguez: save Stefani Chavez: save Mary Rodriguez: it Stefani Chavez: it alright uh save. Mary Rodriguez: and start a new blank document. Stefani Chavez: Uh yeah uh blank. Mary Rodriguez: Yep. So that's uh what we're going to use when we uh need it. Stefani Chavez: Well Kathryn Carroll: Oh great. Stefani Chavez: I feel comfortable Mary Rodriguez: Well Stefani Chavez: now. Thanks for Mary Rodriguez: it's Stefani Chavez: this Mary Rodriguez: terrific, Stefani Chavez: exercise. Mary Rodriguez: eh? Kathryn Carroll: It's good Stefani Chavez: I feel Kathryn Carroll: for group spirit. Stefani Chavez: totally at ease. Mary Rodriguez: Yeah Pauline Cooke: It Mary Rodriguez: that's it. Pauline Cooke: certainly is. Mary Rodriguez: We're one big happy family now. Stefani Chavez: Yeah something like that. Mary Rodriguez: Well then uh the serious uh stuff. We're we want to sell it at twenty five Euros internationally um so um but we dunno what exactly th i it is in dollars, but uh twenty five Euros. Our profit aim is, worldwide, fifty million Euros. Stefani Chavez: So Mary Rodriguez: So I didn't uh exactly uh calculate how much we have to sell. we want to keep it our costs at twelve and a half Euros so, keep uh that in mind when we uh talk about our uh materials an f and stuff, Kathryn Carroll: Right. Stefani Chavez: Alright. Mary Rodriguez: and uh marketing uh research. Now then we all uh we can uh sit down and discuss uh what do we think about our current remote controls, first about design uh about uh aim in the market etcetera? Kathryn Carroll: Right. Mary Rodriguez: Well uh we c we can sit down uh because uh presentation can wait. We can uh take notes and uh Well who has uh some uh remarks about the current uh remote controls? Stefani Chavez: Well Mary Rodriguez: Please? Stefani Chavez: I I didn't have to prepare anything about uh Mary Rodriguez: No uh Stefani Chavez: it's Mary Rodriguez: I Stefani Chavez: not, Mary Rodriguez: did. Stefani Chavez: it's it's not my task to uh talk about uh experience with current remote controls, but uh Mary Rodriguez: Well uh just w we're uh four uh if Kathryn Carroll: I think Mary Rodriguez: we if Kathryn Carroll: it's Mary Rodriguez: we would Kathryn Carroll: im Mary Rodriguez: just have one then Kathryn Carroll: it's important to uh look at uh the remote controls of our competitors. Mary Rodriguez: Yeah. Kathryn Carroll: Get the good points uh try to merge them into one universal remote control. Mary Rodriguez: Yeah yeah. Kathryn Carroll: On our corporate site I saw uh a new D_V_D_ player uh we're gonna produce. Mary Rodriguez: Yep. Kathryn Carroll: Maybe it's important Mary Rodriguez: That's alright. Kathryn Carroll: to make it compatible with the D_V_D_ player Mary Rodriguez: That would be a nice idea, yes. Kathryn Carroll: so you can uh use your television and your D_V_D_ player with the same uh remote Mary Rodriguez: Yep Kathryn Carroll: control. Mary Rodriguez: yep yep. Kathryn Carroll: Furthermore it's important to make it uh acceptable for the whole world, for different cultures, maybe, because we want to we want to well fifty million? Mary Rodriguez: Yes fifty Stefani Chavez: Mm-hmm. Mary Rodriguez: million is our aim to Kathryn Carroll: Yeah Mary Rodriguez: a profit, Kathryn Carroll: yeah Mary Rodriguez: so. Kathryn Carroll: so a lot of people have to be able to use it. Stefani Chavez: No but Kathryn Carroll: So Stefani Chavez: uh the Pauline Cooke: Easy Stefani Chavez: b Pauline Cooke: to Stefani Chavez: the Pauline Cooke: learn. Stefani Chavez: buttons have to Kathryn Carroll: Yeah. Stefani Chavez: uh have to have uh international recognisable buttons and uh Kathryn Carroll: Yeah that's right. Pauline Cooke: Yeah. Mary Rodriguez: Yes. Stefani Chavez: and numbers and uh that every culture in uh, yeah, people in every Pauline Cooke: Yeah. Stefani Chavez: country can recognise. Mary Rodriguez: I'll make uh notes and then uh maybe uh well I'll put it in the project uh folder when I'm done uh Kathryn Carroll: Mm-hmm. Mary Rodriguez: just now. Stefani Chavez: Alright. Pauline Cooke: I also Mary Rodriguez: Well Pauline Cooke: think Kathryn Carroll: Right. Pauline Cooke: we should Mary Rodriguez: yeah? Pauline Cooke: not add too many buttons. Modern Mary Rodriguez: No Pauline Cooke: day uh remotes have Mary Rodriguez: that's right. Y Pauline Cooke: too Mary Rodriguez: y Pauline Cooke: much Mary Rodriguez: you Pauline Cooke: buttons Mary Rodriguez: don't use Pauline Cooke: I think. Mary Rodriguez: uh the half of them that's that's Pauline Cooke: Precisely. Mary Rodriguez: culture uh international. Kathryn Carroll: Maybe we could make one button to switch between D_V_D_ player and T_V_ Pauline Cooke: Yeah. Kathryn Carroll: and make the other buttons uh multi-functional or something. Pauline Cooke: Yeah Mary Rodriguez: Yes. Stefani Chavez: Yeah so Pauline Cooke: indeed. Stefani Chavez: it doesn't uh become too complicated with too much buttons Kathryn Carroll: Yeah Stefani Chavez: and Kathryn Carroll: right. Stefani Chavez: uh Mary Rodriguez: Yep, and maybe we do uh we even have uh more than just a D_V_D_ player. Don't we have uh other uh Pauline Cooke: Yeah Mary Rodriguez: ou Pauline Cooke: we should make it compatible Stefani Chavez: And stereo Mary Rodriguez: Uh. Pauline Cooke: perhaps with everything Stefani Chavez: uh s Pauline Cooke: we use, Stefani Chavez: uh Mary Rodriguez: We also Stefani Chavez: audio Pauline Cooke: we Mary Rodriguez: uh Pauline Cooke: uh Mary Rodriguez: just Stefani Chavez: installations. Pauline Cooke: we make? Mary Rodriguez: uh released a T_F_T_ uh Kathryn Carroll: Yeah so Mary Rodriguez: thing Kathryn Carroll: but Mary Rodriguez: I saw. Kathryn Carroll: th that's kind kind of standard T_ television Mary Rodriguez: Yeah. Kathryn Carroll: so Pauline Cooke: Yeah. Kathryn Carroll: it also works on that. Mary Rodriguez: Yep. Pauline Cooke: And I think the people who who will buy our uh remote already have some experience with remotes. So we can keep Stefani Chavez: Most Pauline Cooke: that in Stefani Chavez: people Pauline Cooke: mind. Stefani Chavez: do, yeah. Mary Rodriguez: Well yeah. Stefani Chavez: It doesn't it Mary Rodriguez: It doesn't Stefani Chavez: doesn't Mary Rodriguez: have Stefani Chavez: have to Mary Rodriguez: to Stefani Chavez: be Mary Rodriguez: be, but Pauline Cooke: W Mary Rodriguez: we can. Pauline Cooke: well it's a n it's a new remote and you don't buy a remote if you don't have anything to uh Mary Rodriguez: Well Pauline Cooke: to control with it. Mary Rodriguez: except Kathryn Carroll: Yeah but Mary Rodriguez: if we deliver it together with Stefani Chavez: Yeah. Mary Rodriguez: our D_V_D_. Pauline Cooke: Yeah alright, Kathryn Carroll: We need to Pauline Cooke: but Kathryn Carroll: to keep it consistent with other d uh Mary Rodriguez: Yeah Stefani Chavez: Well. Mary Rodriguez: because we look at competitors and w if we pick up the good things about that and give it a nice design Stefani Chavez: Hmm. Kathryn Carroll: Yeah but it's Stefani Chavez: It Kathryn Carroll: it Stefani Chavez: has to be Kathryn Carroll: has Stefani Chavez: different Kathryn Carroll: to be Stefani Chavez: and Kathryn Carroll: useable. Stefani Chavez: familiar at the same time. Mary Rodriguez: Yes. Kathryn Carroll: Yeah. Pauline Cooke: Yeah. Yeah we could use Mary Rodriguez: Yep. Pauline Cooke: another form or shape or colour, Stefani Chavez: yeah Pauline Cooke: that Stefani Chavez: the shape Pauline Cooke: kind of Stefani Chavez: will Pauline Cooke: things. Stefani Chavez: will have to be recognised. I thought about uh like most uh remote controls uh are uh a long box shaped thing Mary Rodriguez: Yeah. Stefani Chavez: you can make it uh triangle shaped, but that's Pauline Cooke: Well Stefani Chavez: not Pauline Cooke: we Stefani Chavez: uh Pauline Cooke: we Stefani Chavez: very Pauline Cooke: could Mary Rodriguez: Oo Pauline Cooke: make Stefani Chavez: recognisable. Pauline Cooke: more Kathryn Carroll: No. Pauline Cooke: more oval or something, and Stefani Chavez: Oval? Pauline Cooke: and Mary Rodriguez: N we can Stefani Chavez: I Mary Rodriguez: use Pauline Cooke: Yeah Mary Rodriguez: uh Pauline Cooke: or Mary Rodriguez: it Pauline Cooke: so Mary Rodriguez: as a as a game pad. So Stefani Chavez: Mm. Pauline Cooke: Well yeah it's new. Kathryn Carroll: Not with two hands. Mary Rodriguez: one hand has the beer, so Kathryn Carroll: Yeah Mary Rodriguez: the other Kathryn Carroll: yeah Mary Rodriguez: hand Kathryn Carroll: yeah, right. Mary Rodriguez: uh Kathryn Carroll: No Pauline Cooke: but young people want something different and it is Mary Rodriguez: Well i Kathryn Carroll: Yeah but Mary Rodriguez: we already Kathryn Carroll: it's Mary Rodriguez: uh Kathryn Carroll: quite important Mary Rodriguez: one of Kathryn Carroll: that Mary Rodriguez: our Kathryn Carroll: it Mary Rodriguez: aims Kathryn Carroll: fits. Mary Rodriguez: is that it has to be original Pauline Cooke: Yeah. Mary Rodriguez: and Kathryn Carroll: Yeah. Stefani Chavez: Oh Mary Rodriguez: trendy Stefani Chavez: but it ha it has to be Mary Rodriguez: so Stefani Chavez: m yeah. But you still have to know it's a remote and not another Pauline Cooke: Yeah Mary Rodriguez: Well Pauline Cooke: alright. Mary Rodriguez: there has been done a lot of researches about remotes uh we have to we can imagine uh because it's a long time uh on the market. So Stefani Chavez: Yeah. Mary Rodriguez: the the form will have been uh tested out so Stefani Chavez: Yeah so the long box uh shaped thing must be uh, yeah, useful Mary Rodriguez: Yes. Stefani Chavez: or Mary Rodriguez: Well Stefani Chavez: else uh they would have been ano another Mary Rodriguez: for Kathryn Carroll personally Stefani Chavez: shape. Mary Rodriguez: I have a a lot of remotes uh at home but those ones that have a a round ending and uh well uh just an uh square uh middle I don't like to use them. I have uh have to it has to fit my hands. Kathryn Carroll: Yeah. Pauline Cooke: Yeah. Mary Rodriguez: When it falls over it and I just have and then the button Kathryn Carroll: It shouldn't Stefani Chavez: Yeah. Kathryn Carroll: be Mary Rodriguez: that Kathryn Carroll: boxy. Mary Rodriguez: I use most Stefani Chavez: Yeah a lo Mary Rodriguez: has to be Stefani Chavez: the Mary Rodriguez: here. Stefani Chavez: long box shape yeah. You have to Mary Rodriguez: It f it fits Stefani Chavez: use Kathryn Carroll: Nah Mary Rodriguez: your hands Stefani Chavez: one hand. Mary Rodriguez: and then you just push the button that you use most Kathryn Carroll: I don't Mary Rodriguez: with Kathryn Carroll: agree with the long box Mary Rodriguez: thumb. Kathryn Carroll: uh shape it Stefani Chavez: Why not? Kathryn Carroll: it has to be custom made for the hand. Pauline Cooke: Yeah it doesn't fit. Mary Rodriguez: Tho Kathryn Carroll: Yeah. Mary Rodriguez: tho those new D_V_D_ Stefani Chavez: But Mary Rodriguez: players Stefani Chavez: it Mary Rodriguez: on Stefani Chavez: does Mary Rodriguez: the Stefani Chavez: fit Mary Rodriguez: market Stefani Chavez: in the hand if Mary Rodriguez: do Stefani Chavez: you hold Mary Rodriguez: have Stefani Chavez: it like Mary Rodriguez: those. Stefani Chavez: this, and you Kathryn Carroll: Yeah Stefani Chavez: can Kathryn Carroll: but Stefani Chavez: make Kathryn Carroll: if Stefani Chavez: it another Kathryn Carroll: you shape Stefani Chavez: shape, but Kathryn Carroll: it Stefani Chavez: then you have Pauline Cooke: No if y Kathryn Carroll: If Pauline Cooke: if you look at new Phillips uh D_V_D_ with their uh remotes Mary Rodriguez: D_V_D_ players. Yes. Pauline Cooke: pl players they they are the new remotes aren't box shaped. Stefani Chavez: W Pauline Cooke: They're Stefani Chavez: no Pauline Cooke: all Stefani Chavez: w Kathryn Carroll: No Pauline Cooke: um Stefani Chavez: what else? I di Kathryn Carroll: that's Pauline Cooke: Well Kathryn Carroll: ol old fashioned. Pauline Cooke: Yeah. Stefani Chavez: Yeah well Kathryn Carroll: I Stefani Chavez: but Kathryn Carroll: can Stefani Chavez: uh Kathryn Carroll: imagine Stefani Chavez: what Pauline Cooke: Yes uh Stefani Chavez: what Kathryn Carroll: that us Stefani Chavez: what do you suggest then? Pauline Cooke: Well Kathryn Carroll: Well Pauline Cooke: most of of them are are somewhat thicker at the end, and Kathryn Carroll: Yeah right. Pauline Cooke: get um yeah thinner Kathryn Carroll: It Pauline Cooke: towards Kathryn Carroll: fits Pauline Cooke: the Kathryn Carroll: in your Pauline Cooke: uh Kathryn Carroll: palms. Pauline Cooke: the other end. Stefani Chavez: Hmm. Pauline Cooke: Mm. Stefani Chavez: Well but it's still then uh the the long box, uh but then with some Pauline Cooke: Yeah it Stefani Chavez: uh round uh Kathryn Carroll: Hmm? Mary Rodriguez: Well Stefani Chavez: round Mary Rodriguez: A Stefani Chavez: forms Kathryn Carroll: Um. Stefani Chavez: in it to fit Mary Rodriguez: it Stefani Chavez: your Mary Rodriguez: h Stefani Chavez: hand, Mary Rodriguez: it has Stefani Chavez: but it's Mary Rodriguez: it it Stefani Chavez: it's Mary Rodriguez: has Stefani Chavez: still Mary Rodriguez: a that's tha th th shape that it fits your hand. Stefani Chavez: Yeah yeah al alright but Mary Rodriguez: That's Stefani Chavez: but it's still it's still sort of box, yeah. It it has Pauline Cooke: Yeah Stefani Chavez: round forms Pauline Cooke: yea Stefani Chavez: but it in the end it's Kathryn Carroll: Well Stefani Chavez: still the box, so that's what I mean. Kathryn Carroll: Yeah but it has it has to fit your hand. Stefani Chavez: Yeah yeah I Kathryn Carroll: It Stefani Chavez: understand, Kathryn Carroll: shouldn't Stefani Chavez: but Kathryn Carroll: be too boxy, you know. Stefani Chavez: no no Kathryn Carroll: It's Pauline Cooke: Hmm. Stefani Chavez: I don't mean an entire box like completely Kathryn Carroll: No no no. Stefani Chavez: square but a also with round edges of course, but Kathryn Carroll: Yeah. Stefani Chavez: in in in at the end it's still this long Kathryn Carroll: Yeah it should be Stefani Chavez: box shape with convenient uh round uh shapes uh Kathryn Carroll: Right maybe Stefani Chavez: to Kathryn Carroll: something Stefani Chavez: fit. Kathryn Carroll: like this or Stefani Chavez: Yeah Kathryn Carroll: and then Stefani Chavez: yes Kathryn Carroll: a Stefani Chavez: I Kathryn Carroll: button Stefani Chavez: thought Kathryn Carroll: here Stefani Chavez: about Kathryn Carroll: to Stefani Chavez: something Kathryn Carroll: switch Stefani Chavez: like Kathryn Carroll: between Stefani Chavez: that. Kathryn Carroll: different systems like D_V_D_ Stefani Chavez: Yeah. Kathryn Carroll: player and so you can Stefani Chavez: A big Kathryn Carroll: I've Stefani Chavez: recognisable button on top or something. Kathryn Carroll: Yeah right, and I do think we have to keep this kind of idea Pauline Cooke: Yeah. Kathryn Carroll: with the with the numbers and Mary Rodriguez: We have five minutes left. So Stefani Chavez: The Kathryn Carroll: Right. Stefani Chavez: buttons should uh also be not too small, not too big, of course, and Mary Rodriguez: Yes Stefani Chavez: uh Mary Rodriguez: uh that's Stefani Chavez: n uh uh not too Mary Rodriguez: yep. Stefani Chavez: close Kathryn Carroll: But it Stefani Chavez: uh Kathryn Carroll: should be Stefani Chavez: together. Kathryn Carroll: possible to to um make it ap apparent that there are two functions for every button. Mary Rodriguez: Yep. Kathryn Carroll: So Stefani Chavez: Uh-huh. Kathryn Carroll: there has to be some space between the buttons. Stefani Chavez: Yeah of course Kathryn Carroll: Yeah. Stefani Chavez: uh to uh to uh to have icons to explain the different Kathryn Carroll: Yeah right Stefani Chavez: functions. Kathryn Carroll: right, Stefani Chavez: Yeah. Kathryn Carroll: and maybe we should use colours. Stefani Chavez: Colours, Pauline Cooke: Yeah Stefani Chavez: yeah. Pauline Cooke: maybe we can um just like on cell phones those um well Kathryn Carroll: Yeah. Pauline Cooke: you can you can put on on them, Mary Rodriguez: Ha. Pauline Cooke: and Kathryn Carroll: That's Pauline Cooke: so Kathryn Carroll: kinda Pauline Cooke: you can Kathryn Carroll: trendy. Pauline Cooke: customise your uh your own remote with different colours or or special Kathryn Carroll: Yeah right. Pauline Cooke: paint jobs I dunno Mary Rodriguez: Sound Pauline Cooke: but Mary Rodriguez: nice. Yes. Stefani Chavez: I think we have to talk also about uh the the materials for um. Pauline Cooke: Well Mary Rodriguez: Well it's just uh about our first ideas now so I think individually we'll have to uh come up with ideas for the next meeting about Kathryn Carroll: Right. Mary Rodriguez: these materials Kathryn Carroll: But Mary Rodriguez: and markets etcetera. Stefani Chavez: Already Mary Rodriguez: Yes? Kathryn Carroll: I think Stefani Chavez: thought Kathryn Carroll: it's Stefani Chavez: about Kathryn Carroll: uh Stefani Chavez: something tha Kathryn Carroll: it's important to uh notate all the the decisions that Mary Rodriguez: Yes. Kathryn Carroll: we make, so we Mary Rodriguez: Well thirty minutes we have. Stefani Chavez: Mm-hmm. Mary Rodriguez: So um This is about uh what we are going to uh do uh. You'll get specific instructions when you're back in your Kathryn Carroll: Yeah. Mary Rodriguez: room so uh it's uh logical uh. I think. Kathryn Carroll: No problem. Mary Rodriguez: Oh and uh that's uh that's all. So we'll just get a notice that the the meeting is uh over. Stefani Chavez: Yeah now we Mary Rodriguez: Yeah Stefani Chavez: can still talk about the material, Mary Rodriguez: yes Stefani Chavez: we Mary Rodriguez: say. Pauline Cooke: Mm. Stefani Chavez: have some some minutes left uh I w wrote down uh that the case should be plastic of course, hard plastic, Kathryn Carroll: Yeah. Yeah it shouldn't be too heavy. Stefani Chavez: No n Mary Rodriguez: Well Stefani Chavez: n Mary Rodriguez: I have had remotes that um they had uh the function of the buttons was about uh uh a layer over the buttons and when I've had use it much it was gone. Pauline Cooke: Yeah Kathryn Carroll: Yeah Pauline Cooke: that's Kathryn Carroll: yeah Mary Rodriguez: So Pauline Cooke: bad, Mary Rodriguez: it Kathryn Carroll: yeah. Mary Rodriguez: has Pauline Cooke: yeah. Mary Rodriguez: to be made in the buttons I think. It has to uh not Pauline Cooke: Yeah Mary Rodriguez: be Pauline Cooke: that's Mary Rodriguez: loose. Pauline Cooke: important. Stefani Chavez: Mm. Alright. And of course there are several electrical cables in it to uh Mary Rodriguez: Yeah. Stefani Chavez: to connect things uh Mary Rodriguez: Is there an a Stefani Chavez: to Mary Rodriguez: universal Stefani Chavez: each other. Mary Rodriguez: uh universal way of um transmitting from the remote to the television so it's all about uh Kathryn Carroll: Yeah Stefani Chavez: I Kathryn Carroll: it's Stefani Chavez: think Kathryn Carroll: univ Stefani Chavez: so. Kathryn Carroll: yeah Stefani Chavez: It's Kathryn Carroll: yeah Stefani Chavez: a Kathryn Carroll: yeah. Mary Rodriguez: It's not that Stefani Chavez: a Mary Rodriguez: in Stefani Chavez: common Mary Rodriguez: China Stefani Chavez: stan Mary Rodriguez: it's Stefani Chavez: standard Mary Rodriguez: different? Stefani Chavez: way Kathryn Carroll: Yep. Stefani Chavez: infrared beams an infrared beam Mary Rodriguez: Yeah. Stefani Chavez: I think. Mary Rodriguez: But y you can have uh of Kathryn Carroll: And you can Mary Rodriguez: course Kathryn Carroll: use Mary Rodriguez: different between D_V_D_s and televisions Stefani Chavez: It it's Mary Rodriguez: and between Stefani Chavez: a we we make an a universal remote Kathryn Carroll: Yeah. Stefani Chavez: so it ha has to work with uh all Mary Rodriguez: Yeah. Stefani Chavez: kinds of brands Pauline Cooke: Yeah. Stefani Chavez: and Pauline Cooke: But Stefani Chavez: things. Pauline Cooke: our T_V_s are mostly made in China and that sort of country, so Mary Rodriguez: Probably yes. China rules. Stefani Chavez: And have well yeah I've wrote something down about how it works. The user presses a button and with an infrared beam Kathryn Carroll: But Stefani Chavez: it signals the television Kathryn Carroll: are Stefani Chavez: set accordingly, but that's pretty obvious, I think. Kathryn Carroll: Are we going w uh with the front uh fronts uh idea? Mary Rodriguez: Well I think uh w we can Kathryn Carroll: I Mary Rodriguez: look Kathryn Carroll: think Mary Rodriguez: into that in the Kathryn Carroll: we Mary Rodriguez: in Kathryn Carroll: should Mary Rodriguez: the next Kathryn Carroll: make Mary Rodriguez: uh Kathryn Carroll: it universal Mary Rodriguez: thirty minutes. Yeah. Kathryn Carroll: and you can always use a front front on it, you know? You can use it just plain Mary Rodriguez: Yes. Kathryn Carroll: but you can Mary Rodriguez: Well j Kathryn Carroll: To make it Mary Rodriguez: just Kathryn Carroll: more trendy. Mary Rodriguez: y you get a n a normal front with it, but you Pauline Cooke: Yeah. Mary Rodriguez: can change them Kathryn Carroll: Right. Mary Rodriguez: uh when Pauline Cooke: Yes. Mary Rodriguez: you buy the Kathryn Carroll: Right. Pauline Cooke: Yes. Mary Rodriguez: And we should uh dispatch those kind of fronts fronts Pauline Cooke: Mm. Mary Rodriguez: a a around the world so Pauline Cooke: Well you Mary Rodriguez: uh Pauline Cooke: can make Kathryn Carroll: Yeah. Pauline Cooke: profit with them, and it's a way to make them trendy. Mary Rodriguez: Well th those fifty million don't uh don't se sells itself so we have to uh make uh some extra effort like fronts Stefani Chavez: Well Mary Rodriguez: uh. Kathryn Carroll: Yeah Pauline Cooke: Yeah Kathryn Carroll: right. Stefani Chavez: but Pauline Cooke: alright. Stefani Chavez: th but the standard front will be uh just grey or something Pauline Cooke: Yeah Stefani Chavez: uh b a simple Mary Rodriguez: Yes. Pauline Cooke: normal. Stefani Chavez: colour not Mary Rodriguez: Yeah Stefani Chavez: not very flashy. Pauline Cooke: No Mary Rodriguez: well it has Pauline Cooke: a colour Mary Rodriguez: to Pauline Cooke: everyone Mary Rodriguez: it h it Pauline Cooke: accepts. Mary Rodriguez: has to fit the the te television and D_V_D_ set we are going to sell, so if they are Pauline Cooke: Mm. Mary Rodriguez: uh black Stefani Chavez: Pink television Mary Rodriguez: and black Stefani Chavez: sets Mary Rodriguez: black Pauline Cooke: Mm. Mary Rodriguez: and silver Stefani Chavez: pink Mary Rodriguez: we'll Stefani Chavez: remote, Kathryn Carroll: Yeah Mary Rodriguez: make them Kathryn Carroll: yeah Mary Rodriguez: black Kathryn Carroll: yeah. Mary Rodriguez: and silver Pauline Cooke: Yeah. Mary Rodriguez: so. Pauline Cooke: standard. Kathryn Carroll: But people of often don't like bright colours or something. We have to make it grey or s or black. Pauline Cooke: Well young people Kathryn Carroll: Yeah but Pauline Cooke: s Kathryn Carroll: then Pauline Cooke: li Kathryn Carroll: you can use a a front. Pauline Cooke: Yeah yeah, yeah. Stefani Chavez: Alright. Mary Rodriguez: Yeah. Stefani Chavez: I must not forget my pen the next Mary Rodriguez: Well if Stefani Chavez: time. Mary Rodriguez: if you yeah. If you have a a a television room for little children and you make a if if you buy a a pink front they'll they'll love it. Pauline Cooke: Yeah. Kathryn Carroll: Yeah Mary Rodriguez: I Kathryn Carroll: that's Mary Rodriguez: think. Kathryn Carroll: right. Yeah Mary Rodriguez: But that's uh marketing Kathryn Carroll: or a t Mary Rodriguez: uh research Kathryn Carroll: Teletubby Mary Rodriguez: you Kathryn Carroll: front. Mary Rodriguez: can uh you can ask Kathryn Carroll: Yeah Mary Rodriguez: uh. Kathryn Carroll: yeah yeah. I will investigate. Mary Rodriguez: Yes. Well our user interface you can uh maybe uh I don't know what your specific instructions will be, but uh probably about uh the precision of the buttons and and those kind of things and what buttons will have to be on the uh remote. And you will look into the technical design and um form, I think. Stefani Chavez: Mm yeah Mary Rodriguez: Or something Stefani Chavez: also the Mary Rodriguez: like Stefani Chavez: the Mary Rodriguez: that. Stefani Chavez: look and feel uh of the Mary Rodriguez: Yeah. Stefani Chavez: the remote's also my task, yeah. Mary Rodriguez: Yeah. Kathryn Carroll: Right. Pauline Cooke: What's the uh url or the website Stefani Chavez: Yeah Pauline Cooke: 'cause Stefani Chavez: I uh Pauline Cooke: I didn't Stefani Chavez: w was wondering that too. Y Mary Rodriguez: Euro? Pauline Cooke: get Stefani Chavez: you Kathryn Carroll: It's Stefani Chavez: went to the company website. Mary Rodriguez: Well Kathryn Carroll: Yeah yeah Mary Rodriguez: it Kathryn Carroll: yeah Mary Rodriguez: it Pauline Cooke: Yeah. Mary Rodriguez: it's Kathryn Carroll: just if Mary Rodriguez: if Kathryn Carroll: you start Mary Rodriguez: you uh Kathryn Carroll: up your Internet Stefani Chavez: It's Kathryn Carroll: Explorer Stefani Chavez: the the Pauline Cooke: Oh Stefani Chavez: the start Pauline Cooke: oh right Stefani Chavez: uh starting Pauline Cooke: oh Stefani Chavez: page Kathryn Carroll: Yeah. Stefani Chavez: uh Pauline Cooke: well I didn't uh use it. Mary Rodriguez: Finish meeting now. Oh alright. Well uh we're going to back uh Pauline Cooke: Yes. Mary Rodriguez: back into our rooms so Kathryn Carroll: Well that's great. Pauline Cooke: Next meeting is in Mary Rodriguez: In thirty Kathryn Carroll: Thirty Mary Rodriguez: minutes, Kathryn Carroll: minutes. Pauline Cooke: Thirty Mary Rodriguez: but uh Pauline Cooke: minutes. Mary Rodriguez: I think it will be you will be warned uh through Pauline Cooke: Yeah Mary Rodriguez: your laptop Pauline Cooke: alright it's Mary Rodriguez: uh Pauline Cooke: it's handy to Mary Rodriguez: to get Pauline Cooke: know Mary Rodriguez: over here. I'll have to restore Stefani Chavez: Very handy Mary Rodriguez: my uh Stefani Chavez: to know. Mary Rodriguez: my desktop uh because Kathryn Carroll: It's Mary Rodriguez: uh Kathryn Carroll: totally broken. Mary Rodriguez: it's it's the half of the normal size. Stefani Chavez: Right see you in half Mary Rodriguez: Oh Pauline Cooke: Oh. Stefani Chavez: an hour Mary Rodriguez: right, Stefani Chavez: then. Mary Rodriguez: oh. Pauline Cooke: Goodbye. Stefani Chavez: W Mary Rodriguez: Ma Kathryn Carroll: Oh Pauline Cooke: S. Mary Rodriguez: W that was a nice meeting. Stefani Chavez: Right uh see you in thirty Mary Rodriguez: Yeah, Stefani Chavez: minutes then. Mary Rodriguez: see you.

After introducing the remote control objective, Mary Rodriguez demonstrated the SmartBoard technology they would be using. They tested it by drawing animals. Mary Rodriguez informed the group of the budget, before beginning the discussion of current remotes and initial ideas. They considered taking the best of their competitors designs and making a multifunction remote. It needs to be useable internationally, with few buttons. The considered options for the shape of the remote control, imagining how it would fit in the hand. The group ended the discussion by touching very briefly on some materials issues, and discussed remote covers.

amisum

train

Sarah Stoner: Great man. Who starts? Amanda Wassinger: Well I'll uh start just with another presentation, Sarah Stoner: Alright, Amanda Wassinger: then Sarah Stoner: great. Amanda Wassinger: we can uh look at th at the agenda uh for this meeting. Sarah Stoner: Alright. Amanda Wassinger: Okay. I've put some uh new things in the in the map. Sarah Stoner: Mm-hmm. Amanda Wassinger: Uh oh. This is it. I don't know the shortcut, so Ah F_ five. Well our functional design meeting, that's the stage we're in. Jessie Neace: Mm. Amanda Wassinger: And you also ha all three of you have uh prepared something about it. Sarah Stoner: Yes. Amanda Wassinger: Well in uh just have a look at the notes from the previous meeting, what we uh thought we had dec decided. But uh Uh then we'll uh look at uh the three uh presentations uh from you. Sarah Stoner: 'Kay. Amanda Wassinger: I think you have prepared uh all Jessie Neace: Well, Amanda Wassinger: three Jessie Neace: yeah. Sarah Stoner: Yeah. Amanda Wassinger: uh? Um we'll look at th the new project requirements we uh I dunno. Y you also have uh received that mail, the new project requirements from our bosses? Jessie Neace: No. Sarah Stoner: No. Amanda Wassinger: Oh I've received a mail Sarah Stoner: You're the Amanda Wassinger: with Sarah Stoner: only one. Amanda Wassinger: uh some additional requirements, Jessie Neace: Oh Sarah Stoner: Alright. Amanda Wassinger: and I'll have a look if Well I think we should show them before your presentations, because it's not really uh smart uh to uh to include some things uh we can't, because of the new requirements. Sarah Stoner: 'Kay. Amanda Wassinger: Well um then we can make some decisions about our remote control functions. We have to deb we have to decide it in this meeting what our function will be. And then uh we can discuss uh some more closely. Jessie Neace: We have Amanda Wassinger: Uh Jessie Neace: forty minutes for this uh discussion? Amanda Wassinger: Uh yeah, I think so. Jessie Neace: Alright. Amanda Wassinger: Well uh the closing uh we'll not uh look at it yet. Sarah Stoner: Alright. Amanda Wassinger: Um now I'll look at show this board. Um Well uh notes, first meeting. Now. I gave a disc a a presentation. Uh we familiarised ourself with the boards and then we discussed some first ideas. So we said that uh we have to merge the strong points from our uh competitors, Sarah Stoner: Right. Amanda Wassinger: and uh look at their uh remote controls. We should make it uh compatible with our new D_V_D_ and other releases we have, our technical releases. Jessie Neace: Huh? Amanda Wassinger: Uh not too many one buttons. One recognisable button in the middle, where you do the most important functions with. And um well they can have two functions, because uh you have a D_V_D_ and a television. Jessie Neace: Yeah. Amanda Wassinger: Um the design has to fit the hand, be original, but also be familiar. It's uh one of our ideas. Yeah well that wa It's just thirty minutes ago, so it's not quite uh Jessie Neace: Mm-hmm, now it's right. Sarah Stoner: Yeah. Amanda Wassinger: But well I have to do it. The materials uh well should be hard plastic with rubber from, and uh well the labelling of the buttons should be indestructible. It should Jessie Neace: It's Amanda Wassinger: be Jessie Neace: meant Amanda Wassinger: uh recognisable Jessie Neace: to be easily Amanda Wassinger: at Jessie Neace: wiped Amanda Wassinger: all Jessie Neace: out, Amanda Wassinger: times. Jessie Neace: yeah. Dorothy Yarbrough: Mm. Amanda Wassinger: Yes. Sarah Stoner: Okay. Amanda Wassinger: Well fronts were to be just like mobile telephones. And uh the technical aspects um And also labelling of the buttons, the functions should be universal standards. Well that's just uh some ideas from the first meeting. Jessie Neace: Mm-hmm. Amanda Wassinger: It's quite logical al all of it. Um now the new project requirements, I'll just show them. I got this mail from uh our bosses. Well, teletext goes out. Dorothy Yarbrough: Oh. Amanda Wassinger: We will not use teletext. Sarah Stoner: Okay. Amanda Wassinger: Maybe Jessie Neace: I I Amanda Wassinger: a Jessie Neace: disagree, Amanda Wassinger: new sort Jessie Neace: but Amanda Wassinger: of thing, Jessie Neace: uh it's Amanda Wassinger: but Jessie Neace: not Amanda Wassinger: n Jessie Neace: uh t Amanda Wassinger: but not teletext. Jessie Neace: it's not my place to Amanda Wassinger: Well Jessie Neace: disagree I guess. Amanda Wassinger: the second is a bit sh pity because we just said Dorothy Yarbrough: Oh. Amanda Wassinger: we wanted to d include the D_V_D_ and they don't want it, because Sarah Stoner: Alright. Amanda Wassinger: of our time we have for this project. Jessie Neace: Oh, alright. Dorothy Yarbrough: Oh that's a shame. Amanda Wassinger: So that's a shame, because uh especially for the third requirement we want to reach people under the thirty years. Because uh we don't have those customers a lot at th at this point. Um well it's a bit pity because it's just those people want to have uh one remote control for all those technical devices they Sarah Stoner: Yeah. Amanda Wassinger: can uh Sarah Stoner: But let's Amanda Wassinger: reach Sarah Stoner: forget Amanda Wassinger: it. Sarah Stoner: about it. It's just time-consuming, Amanda Wassinger: Yeah. Sarah Stoner: so we uh have to go Amanda Wassinger: Well Sarah Stoner: on. Amanda Wassinger: and uh our corporate image should stay rec recognisable in our products. So uh we have to uh use uh maybe a slogan, maybe a colour, and um Yeah well uh on our remote controls the design has to be uh, well as we already said a actually, uh familiar. Sarah Stoner: Yes. Amanda Wassinger: Uh not only just uh the shape but also our company. Jessie Neace: Yeah, we are a real fashionable company. I read uh I read it Amanda Wassinger: Yeah. Dorothy Yarbrough: Yeah. Jessie Neace: on the Amanda Wassinger: Yeah. Sarah Stoner: Mm. Jessie Neace: I didn't know what company we were, but we uh especially trendy uh Amanda Wassinger: Yeah. Jessie Neace: trendy trendy stuff. So it Amanda Wassinger: Okay. Jessie Neace: has to be uh a modern design. That's important to know, uh when you design a thing of course. Amanda Wassinger: Yes. I I uh noted uh our uh slogan that we have, our company. It's uh we mm put the fashion in electronics. Jessie Neace: Yeah. Sarah Stoner: Right. Amanda Wassinger: So maybe that's a slogan we can put uh somewhere on our remote control or something. Dorothy Yarbrough: Yeah. Amanda Wassinger: Alright then um we're going to uh have Sarah Stoner: Yeah. Amanda Wassinger: three presentations. You want to start? Sarah Stoner: Yeah. I think I have to start. Amanda Wassinger: Oh you have to start? I didn't see anything about uh Sarah Stoner: Oh no, Amanda Wassinger: who had to Jessie Neace: The Sarah Stoner: no Amanda Wassinger: start. Jessie Neace: order? Sarah Stoner: problem. Jessie Neace: No. Amanda Wassinger: Well Dorothy Yarbrough: Mm. Amanda Wassinger: s Sarah Stoner: I Amanda Wassinger: then start. Sarah Stoner: just have to uh to think which file's mine, 'cause I was uh bit in a hurry. Amanda Wassinger: Okay. Well uh Sarah Stoner: I think it's this one. But I'm not sure. Amanda Wassinger: You Sarah Stoner: Hmm? Amanda Wassinger: already uh opened uh Sarah Stoner: Yeah. Amanda Wassinger: PowerPoint. Sarah Stoner: S Right. Yes. This is it. Amanda Wassinger: Yeah. Sarah Stoner: Well, I'm going to tell you something about functional requirements. Amanda Wassinger: Mm-hmm. Sarah Stoner: Um to start with these points. Uh next sheet? Um at first I tell you something about what people dislike about the current uh controls, because it's uh a smart thing to exclude those things. Uh, furthermore it's very important what they do like and what they do use. Um then I tell something about um the most important issues. So we have to focus on those three thing three things. And in the end I'll um show you our target audience or our target product users, customers. Well, um the first findings are that people um think most controls are very kind of ug ugly. That's seventy five per cent of the current users. They don't like it, so we might think about fronts in that section. Um They also say, that's about uh I thought it was fifty per cent, uh that more money will be spent on uh better looking controls. So it's very important that you design a a nice looking control. Um the current user uses his machine just about well all of the time for a few functions. Uh, almost every user uses it d the the control for just ten per cent of its capacity. So it's really important to make the the buttons for the common uh tasks kind of big or kind of uh flashy. Furthermore, it's uh seventy five per cent of the users uh zaps a lot. Thus it might be uh might be smart to make a a big uh zapping button or something in the middle, so you can reach it with your thumb. Jessie Neace: You can Sarah Stoner: Yeah, Jessie Neace: zap away. Amanda Wassinger: Yeah. Jessie Neace: Yeah. Sarah Stoner: yeah right. Right. A lot of losers um users lose their controls in their in their living room. So it might be sensible to make some kind of a button on your television, that's your um your control beeps or something, that you can find Dorothy Yarbrough: Yeah. Sarah Stoner: this very easily. I dunno, maybe that's Amanda Wassinger: Well Sarah Stoner: an idea. 'Cause it's Jessie Neace: Oh. Sarah Stoner: uh a big I think fifty per cent of the users loses his its control, Jessie Neace: Oh? Amanda Wassinger: It should Sarah Stoner: within the Amanda Wassinger: actually Sarah Stoner: same room. Amanda Wassinger: uh It Dorothy Yarbrough: Yeah. Amanda Wassinger: should actually be loose from the television, because it can also be used for other televisions. So if you deliver a small uh click-on device that you can put on your television, that bleeps to your remote control, Sarah Stoner: Yeah Amanda Wassinger: everyone Sarah Stoner: but what Amanda Wassinger: can Sarah Stoner: if Amanda Wassinger: use Sarah Stoner: you lose Amanda Wassinger: it. Sarah Stoner: your click-on device? Amanda Wassinger: No you can click it on your television. Sarah Stoner: Yeah but if someone d somebody else uses it in ano other room or something? Amanda Wassinger: Yeah in another room, yeah. Sarah Stoner: Nee Amanda Wassinger: Well Sarah Stoner: but it it specifically Amanda Wassinger: yes. Sarah Stoner: says it's uh the the control is lost in the same room. Jessie Neace: Mm-hmm. Amanda Wassinger: Yeah. Sarah Stoner: So Well a beeping Amanda Wassinger: Well Sarah Stoner: device would Amanda Wassinger: we'll Sarah Stoner: be Amanda Wassinger: have a look at it, yeah. Sarah Stoner: Uh furthermore the learning time is a problem. Uh thirty four thirty four per cent um thinks it's it's too uh too difficult to learn. So the the learning curve should be very short uh for the dumbest people should be able to use it. Jessie Neace: I think our uh user uh expert should also consider manual a manual for the remote, of course. Sarah Stoner: Yeah Jessie Neace: Uh Sarah Stoner: but people don't read manuals. Jessie Neace: I didn't read it? Oh, Sarah Stoner: No. Dorothy Yarbrough: No. Jessie Neace: alright. users to uh add one? Do you think? Dorothy Yarbrough: I don't think Sarah Stoner: I think you should put more time in the in the design of uh Dorothy Yarbrough: Yeah. Sarah Stoner: pick up and use, Jessie Neace: Mm-hmm. Dorothy Yarbrough: Yes Sarah Stoner: than Dorothy Yarbrough: you should Sarah Stoner: a manual. Dorothy Yarbrough: You should Jessie Neace: Yeah alright. Amanda Wassinger: Yep. Dorothy Yarbrough: could take Jessie Neace: Because Dorothy Yarbrough: a look at Jessie Neace: they don't Dorothy Yarbrough: it Jessie Neace: use Dorothy Yarbrough: and Jessie Neace: it? Dorothy Yarbrough: and Jessie Neace: Alright. Dorothy Yarbrough: and know how it how it's supposed to work. Sarah Stoner: Yeah. Right. Amanda Wassinger: but it c Sarah Stoner: And Amanda Wassinger: can Sarah Stoner: it should Amanda Wassinger: be very Sarah Stoner: be consistent Amanda Wassinger: short. Dorothy Yarbrough: Yeah but Sarah Stoner: with consistent Dorothy Yarbrough: nobody reads Sarah Stoner: with older Dorothy Yarbrough: a manual Sarah Stoner: remotes. Dorothy Yarbrough: about a remote control, I think. Amanda Wassinger: Yes okay. Jessie Neace: Well maybe for Sarah Stoner: Alright. Jessie Neace: the If you don't recognise a button who d who d who do I call uh wh Dorothy Yarbrough: Yeah right. Jessie Neace: when I don't Dorothy Yarbrough: It sh it Jessie Neace: know Dorothy Yarbrough: should Jessie Neace: it? Dorothy Yarbrough: be there, the manual. But but not to how the remote. Only Sarah Stoner: And we don't have much time. So it's better to uh put our attention to the the design. So you can pick up and use it, than Amanda Wassinger: Well Sarah Stoner: I Amanda Wassinger: we Sarah Stoner: think. Amanda Wassinger: are a design Dorothy Yarbrough: Hmm. Amanda Wassinger: team, we can say to some uh writer uh make a manual Sarah Stoner: Yeah Amanda Wassinger: point. Sarah Stoner: right, Jessie Neace: Isn't it Sarah Stoner: right. Jessie Neace: part of Amanda Wassinger: So Jessie Neace: the of the u No. No. Amanda Wassinger: Well Jessie Neace: Never mind. Amanda Wassinger: we'll have a look. Sarah Stoner: Next Amanda Wassinger: Um Sarah Stoner: point. Amanda Wassinger: yes? Sarah Stoner: Um R_S_I_. Well that's about twenty per cent I thought. But uh the designer should uh take it uh should uh Wie zeg Jessie Neace: Consider Sarah Stoner: ik dat? Jessie Neace: the m Sarah Stoner: Yeah, consider the consequences of using your remote. It Jessie Neace: Yeah. Sarah Stoner: should be a good in your hand. Jessie Neace: Mm-hmm. Amanda Wassinger: Yep. Sarah Stoner: Right, this is the most important part. Um, we're Like the requirements said, we're gonna specify of we're gonna target a younger audience. Um, that's about sixty per cent of the market, so it's uh quite important. Um research shows that they like to have a little L_C_D_ screen on their on their uh zapping uh device. Uh I Amanda Wassinger: Well Sarah Stoner: thought it was the age between sixteen and twenty, ninety nine per cent of uh the people like that. So it's very important we should definitely have that in our uh designs. Amanda Wassinger: Well with twelve Euro fifty as production cost, we can't Jessie Neace: It's Amanda Wassinger: uh Jessie Neace: going Amanda Wassinger: afford Jessie Neace: to be expensive. Amanda Wassinger: an Dorothy Yarbrough: No. Amanda Wassinger: L_C_D_ Jessie Neace: Yeah. Amanda Wassinger: uh Sarah Stoner: Yeah but they think it's really important. So if Amanda Wassinger: Yeah. Sarah Stoner: we want to s If we have a big If we make lots of uh of the stuff, maybe we can uh buy it very cheap, I dunno. We have to uh Jessie Neace: Well we'll Amanda Wassinger: Well Jessie Neace: uh consider it uh. Amanda Wassinger: Yeah well uh it's Jessie Neace: We'll Amanda Wassinger: your Jessie Neace: think abo Amanda Wassinger: your task Jessie Neace: we'll think Amanda Wassinger: to uh look into the costs uh of Sarah Stoner: Yeah, Amanda Wassinger: those uh Sarah Stoner: I don't know. I don't have any information on Amanda Wassinger: Nigh Sarah Stoner: that. So Jessie Neace: No, we'll Amanda Wassinger: I Jessie Neace: look Amanda Wassinger: know. Jessie Neace: we'll look into that later. Sarah Stoner: Right. Jessie Neace: Alright? Sarah Stoner: And uh another thing is uh speech uh recognition. They also like that, but research is very uh costly. Dorothy Yarbrough: I Sarah Stoner: So Dorothy Yarbrough: think that's uh difficult to realise also. Sarah Stoner: Yeah, but it it might be important for Jessie Neace: We Sarah Stoner: the sale. Jessie Neace: have very demanding clients. Amanda Wassinger: It's not yet a standard uh development uh those Dorothy Yarbrough: No and we have Amanda Wassinger: so Dorothy Yarbrough: customers in multiple Amanda Wassinger: We Sarah Stoner: think Amanda Wassinger: sh Dorothy Yarbrough: uh Sarah Stoner: L_C_D_ is Dorothy Yarbrough: countries Sarah Stoner: more Dorothy Yarbrough: I think. Sarah Stoner: reachable than the speech Amanda Wassinger: Yeah Sarah Stoner: recognition. Amanda Wassinger: absolutely. Dorothy Yarbrough: Yeah. Sarah Stoner: So we might consider L_C_D_ screens. Jessie Neace: Yeah, yeah, alright. Well Dorothy Yarbrough: No. Jessie Neace: we'll consider both and and see what uh what what we can find, I think. Sarah Stoner: Alright. Amanda Wassinger: Yep. Jessie Neace: We don't rule them out uh yet. Amanda Wassinger: 'Kay. Sarah Stoner: Alright. Um, I think that's it. Um Amanda Wassinger: Alright. Sarah Stoner: I think it is sensible to u uh to take this take these points into the notes. Amanda Wassinger: Yes. Sarah Stoner: So you can Right. Amanda Wassinger: Well you I c I can uh still see your presentation. Sarah Stoner: Yeah. Right. Amanda Wassinger: It's in the Well uh next um I dunno who is next. You uh got uh Jessie Neace: Shall I give Dorothy Yarbrough: Oh Jessie Neace: a Dorothy Yarbrough: you Jessie Neace: technical Dorothy Yarbrough: go. Jessie Neace: talk? Amanda Wassinger: Yes. Jessie Neace: Alright. Amanda Wassinger: Well go ahead. Jessie Neace: Well uh it is my task to uh explain uh or to point out a working design. Amanda Wassinger: Yip. Jessie Neace: We have that here. Okay, how do you enlarge it, so that Amanda Wassinger: F_ Jessie Neace: you can Amanda Wassinger: five. Jessie Neace: have the F_ F_ five. Amanda Wassinger: F_ five. Jessie Neace: Yep. Sarah Stoner: Alright. Jessie Neace: Well, the working design, that's my uh Sarah Stoner: Next button. Jessie Neace: Well alright uh, you know who I am and what I do. So uh we have this. It's a bit uh unclear because I wanted to copy paste something. It Sarah Stoner: Oh Jessie Neace: was Sarah Stoner: right. Jessie Neace: originally in black and white but it became black and Sarah Stoner: Purple. Jessie Neace: purple. But I think you can read it. Sarah Stoner: Yeah, yeah, Jessie Neace: Um Sarah Stoner: yeah. A bit. Jessie Neace: well um I think it's important uh for you to realise the basic function of a remote control. Uh well you can see uh Sarah Stoner: Maybe you can select it. So it uh inverts. Jessie Neace: And I then can select I can select on the Sarah Stoner: the Jessie Neace: dings It Sarah Stoner: p the Jessie Neace: goes Sarah Stoner: whole Jessie Neace: to the next Sarah Stoner: picture. Jessie Neace: page. Sarah Stoner: Nah, uh Amanda Wassinger: Click. Sarah Stoner: never mind. Jessie Neace: Well, you can read it, it's not Dorothy Yarbrough: Yeah, Jessie Neace: too difficult. Dorothy Yarbrough: go Jessie Neace: Meanwhile, Dorothy Yarbrough: ahead. Jessie Neace: this is a schematic uh um view of uh how a basic remote control works. You have uh basically uh the energy, the power of the of the remote control, uh and the sender, w which is the LED, the the the the the the the the the bulb that sends the the infrared Sarah Stoner: Yeah. Jessie Neace: beam to the, no, to the set. Sarah Stoner: Alright. Jessie Neace: And uh the source is of course the user. Uh the user interface is um uh the the the buttons of course. And the the user interface sends uh the the different signals of the different buttons to the chip, and the chip uh sends it to the LED, and the LED sends it to the receiver. That's the that's the basic Amanda Wassinger: Yep. Jessie Neace: idea. Very basic. Um well I have uh uh put it in a in in in a a couple of basic steps. Uh the remote uh is basically just waiting for a user to press a key. It does nothing until uh of course uh the key is pressed. The key a signal to a chip, uh the chip senses the connection. uh and recognise the key. So well you understand. The chip uh produces Morse code, um a specific code to indicate that specific button that is pressed, of course. And it uses transistors in the in the remote control to amplify and to send uh that signal again to the to the LED, which is the bulb, of course. Now the LED produces an infrared beam and signals the, well it's uh very simple, and signals the Amanda Wassinger: Yeah. Jessie Neace: uh signals to the sensor on the T_V_ set, and the T_V_ set uh also recognises the the the signal, and performs the assigned task. Amanda Wassinger: So it is also why we have to have a button that says uh I'm now busy with a D_V_D_ uh if we had done that. And a Jessie Neace: Ah Amanda Wassinger: button Jessie Neace: bu Yeah, Amanda Wassinger: for Jessie Neace: but we don't. Amanda Wassinger: T_V_. Jessie Neace: Uh we No Amanda Wassinger: So Jessie Neace: no, but Yeah. Exactly. Uh well this is uh the basic uh function of a remote. I've some couple of pictures here. It's a very basic one. And uh if we if we're going to add an uh an uh L_C_D_ screen to it, it uh won't look anything like this, but This is very basic uh basically the the shape of um of a remote control. It has uh very little buttons and But it it uh it's it's quite um Yeah, you can easily recognise the buttons. They're uh far enough apart and an anything. It's not very um Dorothy Yarbrough: High Jessie Neace: uh Dorothy Yarbrough: tech. Jessie Neace: not very high-tech uh indeed, and it's not very user-friendly. So we have to uh change a little bit uh to that, uh so that uh it becomes more user-friendly, and that uh problems like uh R_S_I_ and uh those kinds Sarah Stoner: Right. Jessie Neace: of thing don't don't Sarah Stoner: Can I say Jessie Neace: oc Sarah Stoner: something? Jessie Neace: don't occur. Yeah. Sarah Stoner: Um I have a table here about uh the l the relevance of the buttons. Uh the power button is used very much, channel selection, volume and teletext. Well teletext is not an option, Jessie Neace: Mm-hmm. Sarah Stoner: so that uh But I think it's very important to make um the power, channel and volume buttons uh near to the thumb, so you can't have R_S_I_ uh consequences. Jessie Neace: Yeah, because they are the the most important buttons Sarah Stoner: Right. Jessie Neace: and you can Sarah Stoner: Make Jessie Neace: immediately Sarah Stoner: them big, make them easy to uh Amanda Wassinger: Well Sarah Stoner: to press. Jessie Neace: You Dorothy Yarbrough: You Jessie Neace: don't Amanda Wassinger: but Dorothy Yarbrough: can Jessie Neace: have Dorothy Yarbrough: also Jessie Neace: to look and Amanda Wassinger: but Jessie Neace: and Dorothy Yarbrough: like Jessie Neace: search for them. Amanda Wassinger: if you have Sarah Stoner: Right. Amanda Wassinger: um the most used buttons all in one place, and you keep making the same um well moves. Sarah Stoner: Yeah, Dorothy Yarbrough: Yeah, Sarah Stoner: right. Dorothy Yarbrough: I was Amanda Wassinger: But Dorothy Yarbrough: thinking Sarah Stoner: Right. Amanda Wassinger: if Dorothy Yarbrough: you Amanda Wassinger: y if Dorothy Yarbrough: can Amanda Wassinger: you would put it at a different place, then you have to move your hands, and that's Sarah Stoner: Yeah, Dorothy Yarbrough: Are Amanda Wassinger: on Sarah Stoner: that's Dorothy Yarbrough: some Amanda Wassinger: of Sarah Stoner: right. Amanda Wassinger: the things Dorothy Yarbrough: of the Amanda Wassinger: about R_S_I_. Sarah Stoner: That's right. Dorothy Yarbrough: the Sarah Stoner: That's right. Jessie Neace: Well Dorothy Yarbrough: the Jessie Neace: you Dorothy Yarbrough: um Sarah Stoner: We Jessie Neace: you can't have any uh every button under the thumb, of course. Amanda Wassinger: No but the most Sarah Stoner: But Amanda Wassinger: important buttons m maybe you can just put them a bit apart Sarah Stoner: Yeah. Amanda Wassinger: so you would Sarah Stoner: That's very important. And Amanda Wassinger: reject R_ R_S_I_ R_S_I_. Dorothy Yarbrough: Maybe you can make, for for channel changing, two little buttons on the side of the remote, so you can just do like this. Like Amanda Wassinger: Yes Dorothy Yarbrough: some Amanda Wassinger: I've saw Dorothy Yarbrough: uh Amanda Wassinger: that on m on mi mobile telephones Dorothy Yarbrough: little Amanda Wassinger: they also Dorothy Yarbrough: uh Sarah Stoner: But Amanda Wassinger: have Sarah Stoner: is Dorothy Yarbrough: Gameboy Amanda Wassinger: uh Sarah Stoner: that Amanda Wassinger: those Sarah Stoner: is Dorothy Yarbrough: things Amanda Wassinger: buttons. Sarah Stoner: that useable? Dorothy Yarbrough: or some Hmm? Sarah Stoner: Do people, uh when they pick up a remote, know that they have to do that? It's Dorothy Yarbrough: Well Sarah Stoner: a f it's a new feature, Amanda Wassinger: Well it Sarah Stoner: you Amanda Wassinger: it's Sarah Stoner: can Jessie Neace: Yeah. Sarah Stoner: make make Dorothy Yarbrough: Yeah alright, Sarah Stoner: a double Dorothy Yarbrough: but Sarah Stoner: feature l like a button on the top and under Dorothy Yarbrough: Yeah, Sarah Stoner: it. Amanda Wassinger: Well Dorothy Yarbrough: but Amanda Wassinger: also i Dorothy Yarbrough: if Amanda Wassinger: if Dorothy Yarbrough: you s Amanda Wassinger: someone Dorothy Yarbrough: say Amanda Wassinger: puts Dorothy Yarbrough: them Amanda Wassinger: picks Dorothy Yarbrough: up Amanda Wassinger: up Dorothy Yarbrough: and down, Amanda Wassinger: his uh Dorothy Yarbrough: they they'll Amanda Wassinger: remote Dorothy Yarbrough: understand it, I think. Amanda Wassinger: Yeah. Dorothy Yarbrough: Eighty Jessie Neace: Well, Dorothy Yarbrough: per cent would. Amanda Wassinger: If someone puts up i uh picks up his remote, and he picks up it he he touches the side then Sarah Stoner: Yeah, Amanda Wassinger: he's a already Sarah Stoner: he feels Amanda Wassinger: on the next Sarah Stoner: it immediately. Amanda Wassinger: channel. Dorothy Yarbrough: Yeah Amanda Wassinger: That's Dorothy Yarbrough: that's Amanda Wassinger: very Dorothy Yarbrough: true. Amanda Wassinger: irritating, Sarah Stoner: Yeah, that's right. Amanda Wassinger: I think. Sarah Stoner: Yeah. Dorothy Yarbrough: Yeah Amanda Wassinger: Well. Dorothy Yarbrough: but Sarah Stoner: Right, continue. Sorry. Jessie Neace: But in e in any case the Amanda Wassinger: No. Jessie Neace: the basic function should be uh indeed, and as you say at the thumb. I think that's a good idea, and uh and that the less important uh buttons, like the the the different channels, uh the numbers one two three four five as well, should be uh yeah well not in reach, because uh they don't use it uh all the time. Well it's uh pretty pretty Amanda Wassinger: Yep. Jessie Neace: basically uh as you said. And I have some pictures of the inside workings, but uh I don't want to get too technical, because Amanda Wassinger: Mm-hmm. Jessie Neace: uh that's not uh very uh Sarah Stoner: Yeah, that's Jessie Neace: useful Sarah Stoner: right. Amanda Wassinger: That's Jessie Neace: for Amanda Wassinger: your Jessie Neace: you. Amanda Wassinger: part of the job. Jessie Neace: So yeah exactly this is uh how it uh looks from the inside. Amanda Wassinger: Yep. Jessie Neace: And uh well that's about it I think. Oh yeah, I still have this. Oh I had to delete this, but I had to make a schematic Sarah Stoner: Alright. Jessie Neace: uh of the of the new But I had too Amanda Wassinger: Okay. Jessie Neace: too little time, but uh don't uh Amanda Wassinger: Well Jessie Neace: don't look at it please. Sarah Stoner: Alright. Jessie Neace: I I think Amanda Wassinger: we understand. Jessie Neace: it's it's clear uh Amanda Wassinger: We understand. Sarah Stoner: Yeah, Jessie Neace: how Sarah Stoner: it's Jessie Neace: it Sarah Stoner: clear. Jessie Neace: works. Alright. Amanda Wassinger: Oh right, Jessie Neace: That's Amanda Wassinger: no. Jessie Neace: the most important thing. Amanda Wassinger: Nice. Jessie Neace: Alright. Amanda Wassinger: Then Jessie Neace: Uh Amanda Wassinger: uh Mike can uh give the third presentation. How Jessie Neace: Right. Amanda Wassinger: late is did we start his presentation Sarah Stoner: I dunno. Amanda Wassinger: uh? Sarah Stoner: I think uh w About Amanda Wassinger: Wha Sarah Stoner: twenty minutes ago? Amanda Wassinger: Yeah. Well Sarah Stoner: Losing time losing Amanda Wassinger: then we Sarah Stoner: time. Amanda Wassinger: have still the time, so But we do have to come to a decision, Sarah Stoner: Yeah right. Amanda Wassinger: right Sarah Stoner: So Amanda Wassinger: later on. So Dorothy Yarbrough: Mm. Well I thought um everybody on the website uh would see the same thing, but Sarah Stoner: I don't think Dorothy Yarbrough: obviously Sarah Stoner: so. Dorothy Yarbrough: that's not the case. Jessie Neace: Yeah, uh there are different uh We have all have different home pages, Amanda Wassinger: Oh yeah? Dorothy Yarbrough: Yeah. Jessie Neace: with different links. Yeah. Sarah Stoner: Yeah right. Amanda Wassinger: Uh? Dorothy Yarbrough: For instance you couldn't see this. Amanda Wassinger: Okay, yeah well. Dorothy Yarbrough: Um Yeah. Well I'm Mike, User Interface Amanda Wassinger: Mm-hmm. Dorothy Yarbrough: Designer. The the method? Well I used my own experience with remotes, took a good l look uh at the remotes on the corporate website, which are these two. Amanda Wassinger: Yeah. Dorothy Yarbrough: Um Sarah Stoner: These are already in use? Dorothy Yarbrough: Yes, these are from from another uh manufacturer. Sarah Stoner: Alright, Dorothy Yarbrough: Um Sarah Stoner: okay. Dorothy Yarbrough: This one is engineering-centred, so this one has the most functions and um things. This one is user-centred. Amanda Wassinger: Yeah. Jessie Neace: Mm-hmm. Dorothy Yarbrough: Um Sarah Stoner: Well Amanda Wassinger: I like user-centred. Sarah Stoner: Yeah, Sarah Stoner too. Dorothy Yarbrough: I like user-centr centred Amanda Wassinger: Yeah. Dorothy Yarbrough: uh uh also the best. Amanda Wassinger: We also do that. Dorothy Yarbrough: Um Well, I thought uh that we uh reduce the the option to control the D_V_D_ also, and teletext and that kind of stuff. Sarah Stoner: Mm. Dorothy Yarbrough: Uh so I thought we we we would use more or need more buttons than this one. Sarah Stoner: But we have to reject Dorothy Yarbrough: But Sarah Stoner: that, because Dorothy Yarbrough: Yes. Sarah Stoner: of the requirements? Amanda Wassinger: Yeah. Dorothy Yarbrough: Th that's why this mm is not relevant any more I Sarah Stoner: Alright. Dorothy Yarbrough: feel. Um I think this is about the maximum number of buttons uh we'll need. Sarah Stoner: Yeah, right. Dorothy Yarbrough: I um I kinda like the shape. I think this is what we talked about. But Sarah Stoner: Yeah. Jessie Neace: You can't really see uh the differ from different sides. But I think Dorothy Yarbrough: No Jessie Neace: uh Dorothy Yarbrough: I've Well I showed it somewhere. Um Jessie Neace: Uh you can draw it if you Yeah. Dorothy Yarbrough: Oh yeah. I think we should go further with the idea of a removable front. So Amanda Wassinger: Mm-hmm. Dorothy Yarbrough: we can can uh yeah customise the Amanda Wassinger: Well absolutely, but i th they all have to have something about um the recognition from our company. So Dorothy Yarbrough: Mm? Amanda Wassinger: we cannot just uh Dorothy Yarbrough: Yeah. Amanda Wassinger: make someone Dorothy Yarbrough: It's a front. Amanda Wassinger: w Dorothy Yarbrough: It's not the the whole remote that changes, of Amanda Wassinger: No Dorothy Yarbrough: course. Amanda Wassinger: but Sarah Stoner: But Dorothy Yarbrough: You Amanda Wassinger: that's Sarah Stoner: it Dorothy Yarbrough: can Amanda Wassinger: th the side they look uh look at is the front. So if y if you make a a front with just a a tiger on it, then uh Dorothy Yarbrough: Mm. Amanda Wassinger: our recognition is totally gone. Sarah Stoner: Yeah, that's right. Dorothy Yarbrough: Or you can you can can put the same symbol on on every Sarah Stoner: Yeah, Dorothy Yarbrough: remote. So Sarah Stoner: that's Dorothy Yarbrough: l Sarah Stoner: a must. Dorothy Yarbrough: like Sarah Stoner: We Amanda Wassinger: Yeah, Sarah Stoner: must Dorothy Yarbrough: Ericsson Sarah Stoner: have Jessie Neace: We Sarah Stoner: that. Jessie Neace: can Amanda Wassinger: we Jessie Neace: put Amanda Wassinger: must. Dorothy Yarbrough: does Jessie Neace: it on the on the back side. Amanda Wassinger: Yeah Dorothy Yarbrough: every uh Amanda Wassinger: well and and Dorothy Yarbrough: S something like this. Amanda Wassinger: Yes. Dorothy Yarbrough: It's recognisable. Amanda Wassinger: 'Kay. Sarah Stoner: We can Dorothy Yarbrough: Um Sarah Stoner: make a symbol of the company right here. And if you Dorothy Yarbrough: Yeah? Sarah Stoner: put a front on it, there's a hole on the front. So Jessie Neace: Yeah, Sarah Stoner: the symbol's Jessie Neace: so that Sarah Stoner: always Dorothy Yarbrough: Yeah Jessie Neace: you Amanda Wassinger: Yeah Dorothy Yarbrough: yeah. Jessie Neace: don't Amanda Wassinger: yeah Dorothy Yarbrough: Something Jessie Neace: replace Amanda Wassinger: yeah. Dorothy Yarbrough: like that, Jessie Neace: the symbol, Dorothy Yarbrough: in the Jessie Neace: yeah. Amanda Wassinger: Or Sarah Stoner: on Amanda Wassinger: the Sarah Stoner: Yeah. Dorothy Yarbrough: Yeah. Amanda Wassinger: th the the lowest part of the remote isn't changed Sarah Stoner: Yeah, Amanda Wassinger: by the front. Sarah Stoner: yeah. Jessie Neace: Mm-hmm. Sarah Stoner: But Dorothy Yarbrough: Yeah. Sarah Stoner: let's Amanda Wassinger: Those Sarah Stoner: not Amanda Wassinger: kind Sarah Stoner: focus Amanda Wassinger: of things. Sarah Stoner: on the Amanda Wassinger: Yes. Sarah Stoner: front. Amanda Wassinger: Okay. Dorothy Yarbrough: Um Well so uh uh like I said I thought we'd we'd use more function. If we we had to include more functions. But we don't. So um Amanda Wassinger: Mm-hmm. Dorothy Yarbrough: Yeah. Sarah Stoner: Alright. Dorothy Yarbrough: I think this is about the maximum number of buttons we need. Maybe some less. Like eject we don't need, and some other buttons we don't need. I think Jessie Neace: Mike, Dorothy Yarbrough: uh Jessie Neace: uh can you put uh that picture from Sarah Stoner on the in the Word documents file? Dorothy Yarbrough: Yeah, Jessie Neace: In Map? Dorothy Yarbrough: I will. I think uh for the remote um uh less is more. The less buttons the better the design. Um Amanda Wassinger: Yeah. Sarah Stoner: Yeah, Dorothy Yarbrough: We Sarah Stoner: I Dorothy Yarbrough: should Sarah Stoner: agree. Dorothy Yarbrough: go with that concept I think. I know. Amanda Wassinger: Alright. Sarah Stoner: I've I've got another point. Amanda Wassinger: Yeah? Sarah Stoner: Um there are two target audi audiences, and we've uh chose for the younger one. Um, Dorothy Yarbrough: Mm. Sarah Stoner: research has shown that um it's a high interested uh in features. They are high high interested in feature. But they are more critical. Fo Yeah, critical. Jessie Neace: The Sarah Stoner: So Jessie Neace: younger uh Sarah Stoner: The younger audience. Jessie Neace: Mm-hmm. Sarah Stoner: So we must um must design uh a control that really speaks to the people. Amanda Wassinger: Well what if we um I at I at home have a remote that has um the most familiar uh buttons on the top, Sarah Stoner: Mm-hmm. Amanda Wassinger: and the bottom side of the front has a little clip, a f a little uh You can click away and then you have f much more functions that most people don't use but s some do do. Jessie Neace: Mm-hmm. I think uh the most functions uh underneath that uh Sarah Stoner: Clip aren't Jessie Neace: uh Sarah Stoner: used much. Jessie Neace: No um Amanda Wassinger: Well but Jessie Neace: mm Amanda Wassinger: because Jessie Neace: usually Amanda Wassinger: you say they their features are important, they want Sarah Stoner: Yeah right. Amanda Wassinger: m um Jessie Neace: But Amanda Wassinger: a lot, but not Dorothy Yarbrough: Yeah, but what kind of features? Jessie Neace: Yeah Dorothy Yarbrough: Like Jessie Neace: I think Dorothy Yarbrough: L_C_D_ screens Sarah Stoner: Yeah Dorothy Yarbrough: and Jessie Neace: m Sarah Stoner: but Jessie Neace: most Dorothy Yarbrough: voice recognition. Sarah Stoner: Yeah. Dorothy Yarbrough: But I've Jessie Neace: Most Sarah Stoner: Here, look Jessie Neace: uh Sarah Stoner: at these numbers. The newest features are, like I said, are uh L_C_D_ and uh speech uh control. Our audience, these people, are very like these uh features. Amanda Wassinger: Yeah. Jessie Neace: Mm-hmm. Sarah Stoner: You see? So Jessie Neace: Uh. Sarah Stoner: we must build in something, or they will to uh go to the concurrent. Jessie Neace: Yeah. Sarah Stoner: The Jessie Neace: Our Amanda Wassinger: Competitors. Jessie Neace: competitor. Sarah Stoner: concurrent? Jessie Neace: Yeah. Sarah Stoner: Competitors, right. So, I do think we have to uh have some features. Amanda Wassinger: Yeah. Sarah Stoner: Even though they Amanda Wassinger: Well Sarah Stoner: cost a little more. Amanda Wassinger: maybe w we could uh s On um some uh calculators you have lo those little little Sarah Stoner: Right. Amanda Wassinger: L_C_D_ Sarah Stoner: Right. Amanda Wassinger: th that you can click on or something, or that you can click uh out uh of the remote. And if if that's gives you a little bit of sta status Sarah Stoner: Like Amanda Wassinger: information. Sarah Stoner: a ticker-tape. Amanda Wassinger: Yeah. Sarah Stoner: Which programme you are l watching or something. Dorothy Yarbrough: Yeah, that's nice. Amanda Wassinger: Those kind of things, uh because you also have those uh those program recognition for your V_ V_C_R_s. And uh Sarah Stoner: Yeah, right. Amanda Wassinger: well Jessie Neace: Yeah. Amanda Wassinger: if y Sarah Stoner: Yeah right. Amanda Wassinger: if your remote picks that up also, you they can display which programme you're currently watching. Jessie Neace: Yeah. So it it just signals the the different uh sig uh the different symbols on the screen Amanda Wassinger: Yeah. Jessie Neace: you have, uh because if you change to s channel two you have two on the screen and two on your on your um Amanda Wassinger: For example. Jessie Neace: on your L_C_D_ screen. Amanda Wassinger: It it could be such a little uh th that you can click in and out and you and you have it. Dorothy Yarbrough: Yeah, we should keep that simple too. Jessie Neace: But should Dorothy Yarbrough: It Amanda Wassinger: Yeah. Jessie Neace: it uh really be Dorothy Yarbrough: will Jessie Neace: uh clickable, uh Sarah Stoner: No not Amanda Wassinger: Well Sarah Stoner: clickable. Amanda Wassinger: maybe. Dorothy Yarbrough: No, it Sarah Stoner: Nah, Jessie Neace: or Dorothy Yarbrough: should Sarah Stoner: no Dorothy Yarbrough: be Sarah Stoner: no no. Dorothy Yarbrough: uh integrated. I Sarah Stoner: Yeah, Jessie Neace: or just Sarah Stoner: just Dorothy Yarbrough: think Jessie Neace: integrate Sarah Stoner: at Jessie Neace: inside to Sarah Stoner: at Jessie Neace: try to Sarah Stoner: the Jessie Neace: make Sarah Stoner: top. Jessie Neace: it d more trendy. Sarah Stoner: So when you s you sit like this you can can watch. I think Amanda Wassinger: Yeah. Sarah Stoner: it Dorothy Yarbrough: Yeah, Sarah Stoner: should be Dorothy Yarbrough: something Sarah Stoner: at the top. Dorothy Yarbrough: like on Amanda Wassinger: Yeah. Dorothy Yarbrough: um some radios in car. You Where it's, yeah, walking Sarah Stoner: Yeah right. Dorothy Yarbrough: to Sarah Stoner: It's Amanda Wassinger: R_D_S_s Sarah Stoner: a Dorothy Yarbrough: Yeah. Amanda Wassinger: or Sarah Stoner: ticker-tape Amanda Wassinger: something. Sarah Stoner: idea. Jessie Neace: But that's of course uh a bit more uh expensive than uh the basic uh calculator design, with the scrolling text and that kind of thing. Dorothy Yarbrough: Wa Sarah Stoner: Well it's just Amanda Wassinger: Well Sarah Stoner: one Amanda Wassinger: I Sarah Stoner: script. Amanda Wassinger: think it's you got Dorothy Yarbrough: Yeah. Amanda Wassinger: It just means it's a script that's uh keeps it uh rolling, and it's not uh That's five minutes off uh implementing Sarah Stoner: Yeah, Amanda Wassinger: time Sarah Stoner: five Amanda Wassinger: I think Sarah Stoner: minutes Amanda Wassinger: uh Sarah Stoner: of ja ja for programming. Amanda Wassinger: Yeah. Sarah Stoner: So I don't think that's the issue. Amanda Wassinger: No. Jessie Neace: Alright. Sarah Stoner: Alright, we go with the L_C_D_ screen? Amanda Wassinger: Uh well I think so, yes. Dorothy Yarbrough: Yeah Sarah Stoner: 'Kay. Amanda Wassinger: Um Dorothy Yarbrough: well we we we still need to know how much that will cost. Sarah Stoner: Right, I don't know if I can Amanda Wassinger: We're Sarah Stoner: find Amanda Wassinger: g Sarah Stoner: that, Amanda Wassinger: No but Sarah Stoner: but Amanda Wassinger: we're we'll Dorothy Yarbrough: Or Amanda Wassinger: have Dorothy Yarbrough: maybe Amanda Wassinger: to look into Dorothy Yarbrough: you will Amanda Wassinger: that. Dorothy Yarbrough: get that information uh Sarah Stoner: Next Amanda Wassinger: Um Sarah Stoner: time. Yeah right. Amanda Wassinger: we can use Dorothy Yarbrough: Yeah. Amanda Wassinger: this board again, I think. Uh we can put some um decisions about um the controls we want, th the issue. Where is my presentation? Uh Sarah Stoner: Yeah, I understand what you're saying. Amanda Wassinger: Uh Sarah Stoner: We should have a general idea of how it's gonna look. Amanda Wassinger: Well I mean we're all here now, I think. These I've already given you. So we have to decide on the different remote control functions. Sarah Stoner: Right. Amanda Wassinger: So we want to have a small L_C_D_ screen Sarah Stoner: At the top. Amanda Wassinger: that's special. Jessie Neace: Shouldn't we start with the most important Dorothy Yarbrough: At Jessie Neace: parts? Dorothy Yarbrough: the top Amanda Wassinger: Yes. Jessie Neace: The L_C_D_ Dorothy Yarbrough: or Jessie Neace: screen Dorothy Yarbrough: at the bottom? Jessie Neace: alright Sarah Stoner: I think Jessie Neace: but Sarah Stoner: the top Jessie Neace: we should Sarah Stoner: is more Jessie Neace: start Sarah Stoner: uh Jessie Neace: with the power button? Uh Amanda Wassinger: Yeah. Sarah Stoner: When Dorothy Yarbrough: Yeah Sarah Stoner: you s Dorothy Yarbrough: but Sarah Stoner: How do you zap? You just sit in your chair? Jessie Neace: Huh? Sarah Stoner: With Dorothy Yarbrough: Yeah Sarah Stoner: the Dorothy Yarbrough: but Sarah Stoner: remote? Dorothy Yarbrough: with with the L_C_D_ screen on the top it Amanda Wassinger: That Dorothy Yarbrough: gets Amanda Wassinger: thing is Dorothy Yarbrough: a bit Amanda Wassinger: terrible. Dorothy Yarbrough: unnatural. 'Cause most remotes have some space left at the bottom. Sarah Stoner: Yeah but that's where your hand ball might be. Amanda Wassinger: Uh Sarah Stoner: Yeah, Dorothy Yarbrough: Yeah, Sarah Stoner: I dunno. Dorothy Yarbrough: no Mm. Jessie Neace: And then uh Sarah Stoner: We'll draw two, and then we'll see uh Jessie Neace: Maybe we should uh centralise the discussion here. I dunno what uh you were Sarah Stoner: No Jessie Neace: talking about but Sarah Stoner: Um he Jessie Neace: we Sarah Stoner: thinks Jessie Neace: are busy with something. Sarah Stoner: Yeah, right. He thinks it's better to put the L_C_D_ at the bottom, and I think it's better at the top. Jessie Neace: Uh-huh. Why Amanda Wassinger: Well Jessie Neace: do you think it's better at the bottom? Dorothy Yarbrough: Uh well because most uh remotes have um some space left at the bottom, and that way you can keep the shape recognisable for Sarah Stoner: But Dorothy Yarbrough: everybody. Sarah Stoner: your Jessie Neace: But you Dorothy Yarbrough: I Jessie Neace: just Dorothy Yarbrough: c Jessie Neace: can put uh the the the the the whole interface a bit down, so that there's Sarah Stoner: Yeah. Dorothy Yarbrough: Well Jessie Neace: room Sarah Stoner: The Dorothy Yarbrough: I d Jessie Neace: for Dorothy Yarbrough: I think Jessie Neace: the for Dorothy Yarbrough: that's Sarah Stoner: the Jessie Neace: the interface. Sarah Stoner: ticker Dorothy Yarbrough: that's Sarah Stoner: The L_C_D_ Dorothy Yarbrough: ugly Sarah Stoner: is Dorothy Yarbrough: but Sarah Stoner: like like small. It's it's wide. It's Jessie Neace: Uh-huh. Sarah Stoner: not not high. But Amanda Wassinger: Well Jessie Neace: And and Amanda Wassinger: I th Jessie Neace: we Amanda Wassinger: I Jessie Neace: can Dorothy Yarbrough: I Amanda Wassinger: think Dorothy Yarbrough: th Amanda Wassinger: Mike Mike has a point, because Dorothy Yarbrough: Yeah. Amanda Wassinger: um Dorothy Yarbrough: Power Amanda Wassinger: when when Dorothy Yarbrough: button Amanda Wassinger: uh when I Dorothy Yarbrough: always Amanda Wassinger: use a remote Dorothy Yarbrough: Yeah. Amanda Wassinger: I l I hate the buttons but buttons at the at the Jessie Neace: Bottom. Dorothy Yarbrough: Yeah. Amanda Wassinger: bottom. So and and Dorothy Yarbrough: Yeah, Amanda Wassinger: I Dorothy Yarbrough: y Amanda Wassinger: I like Dorothy Yarbrough: you Amanda Wassinger: to Dorothy Yarbrough: gotta Amanda Wassinger: use the Dorothy Yarbrough: zap Amanda Wassinger: ones Dorothy Yarbrough: like this or you want Amanda Wassinger: on the Dorothy Yarbrough: to Amanda Wassinger: top. So Sarah Stoner: Yeah Amanda Wassinger: when Dorothy Yarbrough: Yeah. Sarah Stoner: right. Amanda Wassinger: I Sarah Stoner: But Amanda Wassinger: u when I have to have an L_C_D_ Jessie Neace: Well Amanda Wassinger: s scr Sarah Stoner: We're making Amanda Wassinger: window Jessie Neace: that's Sarah Stoner: a remote Jessie Neace: a Sarah Stoner: with Jessie Neace: bit exaggerated. Well, I agree with you. Sarah Stoner: with a few functions you know. Jessie Neace: It's Sarah Stoner: We Jessie Neace: it's also more recognisable. It looks more like a calculator to people, if you have the l the the Amanda Wassinger: Yes but we we we Jessie Neace: the Amanda Wassinger: we Jessie Neace: thing Amanda Wassinger: don't Jessie Neace: on top. Amanda Wassinger: want that. Dorothy Yarbrough: Yeah you don't want Amanda Wassinger: We don't Dorothy Yarbrough: You want Amanda Wassinger: want Dorothy Yarbrough: uh Amanda Wassinger: them to look Dorothy Yarbrough: Yeah Amanda Wassinger: like a calculator. Dorothy Yarbrough: it Amanda Wassinger: We Dorothy Yarbrough: it Amanda Wassinger: want to Dorothy Yarbrough: it Amanda Wassinger: look Dorothy Yarbrough: must Amanda Wassinger: it Dorothy Yarbrough: be a remote. Amanda Wassinger: like our original Jessie Neace: Yeah Amanda Wassinger: but Jessie Neace: w Amanda Wassinger: familiar Jessie Neace: well, but uh you Dorothy Yarbrough: Yeah. Jessie Neace: don't have to throw uh um important aspe Sarah Stoner: High-tech. Jessie Neace: important aspect like familiarity Amanda Wassinger: Yea Jessie Neace: uh completely away, uh because Amanda Wassinger: Maybe Jessie Neace: I think Amanda Wassinger: a Jessie Neace: it's Amanda Wassinger: bic Jessie Neace: uh Amanda Wassinger: uh better uh white uh We White? Jessie Neace: I think Sarah Stoner: Width. Jessie Neace: it's still important to Amanda Wassinger: Width. Jessie Neace: have it at the top, Amanda Wassinger: Uh Jessie Neace: because it's Amanda Wassinger: format Jessie Neace: uh Amanda Wassinger: yeah format? Line width? Width? Sarah Stoner: Th Jessie Neace: it's more familiar Sarah Stoner: that's not Jessie Neace: that Sarah Stoner: a problem. Jessie Neace: way. Amanda Wassinger: Yeah? Sarah Stoner: When I draw here it Oh. Huh? Amanda Wassinger: It's a bit off. Sarah Stoner: Yeah, it's off. Amanda Wassinger: Well. Jessie Neace: A little a little bit. Sarah Stoner: It it needs to be calibrated Amanda Wassinger: Well Sarah Stoner: again. Amanda Wassinger: uh let's Sarah Stoner: Well Amanda Wassinger: uh talk about that later uh Jessie Neace: Maybe you should another pen. Maybe that's uh better. Sarah Stoner: Where? Jessie Neace: You e you only have Amanda Wassinger: It's Jessie Neace: one pen Amanda Wassinger: special Jessie Neace: for that Amanda Wassinger: pen. Jessie Neace: screen. Yeah. Sarah Stoner: Alright, we have to make a decision now, because Amanda Wassinger: Yeah. Sarah Stoner: we don't have much time. Amanda Wassinger: No. Sarah Stoner: Um I think we have uh a few functions, and we can put uh the L_C_D_ above it, and still have lots of room at the bottom, Jessie Neace: Yeah. I Sarah Stoner: where you can put Jessie Neace: I Sarah Stoner: your Jessie Neace: agree. Sarah Stoner: hand. Amanda Wassinger: I think it should be at the button, bottom. Jessie Neace: Well Dorothy Yarbrough: At the bottom? Jessie Neace: I'm Amanda Wassinger: Bottom. Jessie Neace: the I I'm the designer, Amanda Wassinger: The L_C_D_. Jessie Neace: so um Dorothy Yarbrough: In a Sarah Stoner: At Dorothy Yarbrough: few Sarah Stoner: the Dorothy Yarbrough: minutes Sarah Stoner: bot Dorothy Yarbrough: Oh yeah, oh Amanda Wassinger: Yeah. Dorothy Yarbrough: yeah, I totally Sarah Stoner: So Dorothy Yarbrough: agree. Yeah. Sarah Stoner: We are two uh V_S_ two. Amanda Wassinger: Well but uh what what if we we Dorothy Yarbrough: He's Amanda Wassinger: first Dorothy Yarbrough: the boss. Amanda Wassinger: decide the different functions, Jessie Neace: Yeah. Amanda Wassinger: and then Sarah Stoner: Right. Amanda Wassinger: look at the Sarah Stoner: Great. Amanda Wassinger: design. Jessie Neace: Uh we uh Amanda Wassinger: Because Jessie Neace: we Amanda Wassinger: we Jessie Neace: were Amanda Wassinger: have to Jessie Neace: busy Amanda Wassinger: decide Jessie Neace: with that. Amanda Wassinger: this. Jessie Neace: Uh yeah we should uh summon the Amanda Wassinger: Yeah. Jessie Neace: the different uh aspects of the thing. So, we have the power button. Sarah Stoner: And moreover I think that you two should be uh come to consensus about the L_C_D_ Amanda Wassinger: Yes. Sarah Stoner: s. It's uh your it's your job. Jessie Neace: Yeah of course. Uh it's uh. Dorothy Yarbrough: No Jessie Neace: Yeah. Dorothy Yarbrough: it's Amanda Wassinger: Well Jessie Neace: W Dorothy Yarbrough: our Amanda Wassinger: we have Dorothy Yarbrough: job. Jessie Neace: wh Amanda Wassinger: a power button. Guys? Jessie Neace: While you have to agree, I Sarah Stoner: Yeah, Jessie Neace: can say Sarah Stoner: right. Jessie Neace: it's like this and Amanda Wassinger: Guys? Sarah Stoner: Alright, Jessie Neace: you must agree. Sarah Stoner: let's Jessie Neace: Yeah. Sarah Stoner: keep Amanda Wassinger: We Sarah Stoner: it Amanda Wassinger: have Sarah Stoner: central. Amanda Wassinger: a power button, setting buttons, L_C_D_ window, Dorothy Yarbrough: The ten Amanda Wassinger: the number Dorothy Yarbrough: numbers? Amanda Wassinger: buttons Dorothy Yarbrough: Yeah? Jessie Neace: Channel, yeah. Amanda Wassinger: Uh Dorothy Yarbrough: Volume? Jessie Neace: Volume control. Amanda Wassinger: Yes. Jessie Neace: Um Sarah Stoner: Mm. Amanda Wassinger: Uh Jessie Neace: Well let's look at your uh design. Amanda Wassinger: the mute Jessie Neace: Uh Amanda Wassinger: button. I h love that one. Jessie Neace: Uh-huh. Dorothy Yarbrough: I think we we should use something like this um to um The the channel up and channel down button? Amanda Wassinger: Yes. Dorothy Yarbrough: Yeah, in circle, you know? Amanda Wassinger: Yeah. Yeah yeah yeah. Well Dorothy Yarbrough: And Amanda Wassinger: that's Dorothy Yarbrough: and Amanda Wassinger: that's Dorothy Yarbrough: a Amanda Wassinger: also Dorothy Yarbrough: volume Amanda Wassinger: design. Dorothy Yarbrough: control also Amanda Wassinger: Yes. Dorothy Yarbrough: in it. Sarah Stoner: Right. Amanda Wassinger: Um Jessie Neace: Yeah. Amanda Wassinger: Well Jessie Neace: But Amanda Wassinger: h Jessie Neace: th Amanda Wassinger: ho Jessie Neace: th on this remote th these controls are for something else, a D_V_D_ Amanda Wassinger: Yes. Jessie Neace: player or Amanda Wassinger: Yes. Jessie Neace: something. Dorothy Yarbrough: Yes, Amanda Wassinger: They Jessie Neace: So Amanda Wassinger: are Dorothy Yarbrough: as Amanda Wassinger: for some Dorothy Yarbrough: I Amanda Wassinger: uh Dorothy Yarbrough: already Amanda Wassinger: video Dorothy Yarbrough: said, Amanda Wassinger: uh Dorothy Yarbrough: we could drop some of these buttons. Sarah Stoner: You should put that uh power button, channel and volume should have the most uh importance. Dorothy Yarbrough: Yeah. I think these should be in one big circle in the middle. Sarah Stoner: Yeah, but what he said about R_S_I_ was t kinda true. When when you uh put them all in the same place, the most used buttons, you're doing the same thing all the time, and that's just what R_S_I_'s all about. So it might be smarter to put them a little more Amanda Wassinger: Apart. Sarah Stoner: away from each other. Amanda Wassinger: So people have to move their hand. And they get less uh complaints of R_S_I_. Jessie Neace: Yeah, it's it's also not good to completely stay in one position constantly with one hand. Y Amanda Wassinger: That's what I always do, because Jessie Neace: Yeah. Amanda Wassinger: all my i important buttons Jessie Neace: It's Amanda Wassinger: are the Jessie Neace: good Amanda Wassinger: same Jessie Neace: to move Amanda Wassinger: place. Jessie Neace: uh from time to time. Yeah. Dorothy Yarbrough: Yeah Sarah Stoner: Um Dorothy Yarbrough: but Amanda Wassinger: Yes? Dorothy Yarbrough: people don't like it when their buttons are all over the place. They Jessie Neace: No Amanda Wassinger: Well Jessie Neace: but Amanda Wassinger: not Dorothy Yarbrough: they need Jessie Neace: now Dorothy Yarbrough: to Jessie Neace: y Dorothy Yarbrough: be centred. Jessie Neace: W would we have to choose a Sarah Stoner: Frequency Jessie Neace: way Sarah Stoner: of Jessie Neace: in middle? Sarah Stoner: uh button use. Amanda Wassinger: Yes. Sarah Stoner: Um channels are uh most uh is most used within the hour. Amanda Wassinger: Uh-huh. Dorothy Yarbrough: Volume Sarah Stoner: You Dorothy Yarbrough: hardly. Sarah Stoner: can see. So the the channel uh channel buttons should Jessie Neace: Mm-hmm. Sarah Stoner: be far far apart, I think, up and down. Dorothy Yarbrough: No I don't think. Jessie Neace: Oh. Amanda Wassinger: Up Jessie Neace: Far Amanda Wassinger: and Jessie Neace: apart? Amanda Wassinger: down far apart from each other? Sarah Stoner: You thinking uh about Dorothy Yarbrough: Yeah but Sarah Stoner: R_S_I_? Dorothy Yarbrough: Yeah Amanda Wassinger: Well Dorothy Yarbrough: but Sarah Stoner: Y Amanda Wassinger: not Sarah Stoner: look Amanda Wassinger: too Sarah Stoner: at Amanda Wassinger: much. Sarah Stoner: uh look Dorothy Yarbrough: No. Sarah Stoner: at the frequency. Nei not too much, but Dorothy Yarbrough: The other the other two uh frustrations are far more important. So Jessie Neace: I think you can have the two buttons of up and down close together, but you don't have uh have to have volume control Amanda Wassinger: Well Jessie Neace: and Amanda Wassinger: for example Jessie Neace: and Amanda Wassinger: the power Jessie Neace: zapping button Amanda Wassinger: button, Jessie Neace: close together. Amanda Wassinger: you can Dorothy Yarbrough: Well they are used four times Amanda Wassinger: If someone Dorothy Yarbrough: an hour, Amanda Wassinger: is Dorothy Yarbrough: so Amanda Wassinger: constantly z zapping, it's not going to miss, that it that the power button is not right beside it. Because I Sarah Stoner: Nei Amanda Wassinger: have Sarah Stoner: nei nei Amanda Wassinger: someone Sarah Stoner: n I I Amanda Wassinger: But Sarah Stoner: totally Amanda Wassinger: the buttons Sarah Stoner: agree. Amanda Wassinger: is way. So Sarah Stoner: But Amanda Wassinger: that one Sarah Stoner: just Amanda Wassinger: can be put away. Sarah Stoner: Yeah. Right. Yeah. I Amanda Wassinger: The power Sarah Stoner: agree. Amanda Wassinger: button can uh be uh uh Dorothy Yarbrough: Power bu button should be left at the top. Amanda Wassinger: Yes. Sarah Stoner: And should and should be red. Jessie Neace: Yeah. Amanda Wassinger: Oh man, five minutes. Yeah, well Sarah Stoner: Right, Amanda Wassinger: five minutes left. Sarah Stoner: just make some decisions. Amanda Wassinger: Yep. Sarah Stoner: The most important things we have to uh Amanda Wassinger: Um how are we going to do it Jessie Neace: C c Amanda Wassinger: with Jessie Neace: can you Amanda Wassinger: those Jessie Neace: make you Amanda Wassinger: numbers? Jessie Neace: make We can use uh the drawing board now, I think. Uh it it doesn't work well but But it it Amanda Wassinger: Well Jessie Neace: would be Amanda Wassinger: I have Jessie Neace: pretty Amanda Wassinger: it here. Jessie Neace: pretty uh nice if we could just draw a simple Sarah Stoner: I do Jessie Neace: thing. Amanda Wassinger: Yeah Sarah Stoner: think you Amanda Wassinger: well Sarah Stoner: have Amanda Wassinger: that's Sarah Stoner: to Amanda Wassinger: going Sarah Stoner: keep Amanda Wassinger: to take Sarah Stoner: you Amanda Wassinger: too Sarah Stoner: have Amanda Wassinger: too Sarah Stoner: to Amanda Wassinger: much Sarah Stoner: keep Amanda Wassinger: time. Sarah Stoner: it central now. Just Dorothy Yarbrough: Mm. Amanda Wassinger: Yes. Sarah Stoner: uh Dorothy Yarbrough: Yeah. Sarah Stoner: you decide that, you decide that, Jessie Neace: Mm. Sarah Stoner: and Amanda Wassinger: Yes. Jessie Neace: Alright. Sarah Stoner: ready. Amanda Wassinger: Well the L_C_D_. Um you are Industrial, you are User Interface. So I think it's going to go to Mike. Sarah Stoner: Yeah. Amanda Wassinger: But you will have to make consensus with. Well Dorothy Yarbrough: Well consensus, Amanda Wassinger: Well Dorothy Yarbrough: um Amanda Wassinger: it's a bit Sarah Stoner: Nei. Amanda Wassinger: hard, Dorothy Yarbrough: We we Amanda Wassinger: because Dorothy Yarbrough: can Amanda Wassinger: we Sarah Stoner: We're Dorothy Yarbrough: put Amanda Wassinger: are going Dorothy Yarbrough: it in Amanda Wassinger: to Dorothy Yarbrough: the Amanda Wassinger: be Dorothy Yarbrough: middle, Sarah Stoner: No Amanda Wassinger: uh individually. Dorothy Yarbrough: so Amanda Wassinger: That's a bit Sarah Stoner: We're Amanda Wassinger: uh Sarah Stoner: deciding now, Amanda Wassinger: Yes. Sarah Stoner: so Top or bottom? Jessie Neace: Well uh yeah I I still think it's it's quite important though to uh Amanda Wassinger: Yes it Jessie Neace: to Amanda Wassinger: is. Jessie Neace: have it at the top, so Yeah. You say familiarity isn't important but Amanda Wassinger: Well what if we're going to now decide about the functions, and the design comes into the next round? Sarah Stoner: Okay. Amanda Wassinger: Plus the d th Jessie Neace: Yeah Amanda Wassinger: the design Jessie Neace: d Amanda Wassinger: round is still to come huh? Sarah Stoner: Yeah, Jessie Neace: Yeah. Sarah Stoner: right. Okay. Dorothy Yarbrough: Alright. Amanda Wassinger: Alright these functions. Jessie Neace: As we we we Amanda Wassinger: The number Jessie Neace: we agreed, Amanda Wassinger: f Jessie Neace: we do Amanda Wassinger: Well Jessie Neace: have a L_C_D_. Amanda Wassinger: yes, Jessie Neace: So Amanda Wassinger: that's alright. Sarah Stoner: Yeah, Jessie Neace: that's Sarah Stoner: okay. Amanda Wassinger: W the number function. Jessie Neace: that's enough. Yeah. Amanda Wassinger: Are we going to uh do it like uh on Mike's screen with uh one button that says I'm going to do a t two number digital? Dorothy Yarbrough: No. Amanda Wassinger: How do you want it to do then? Jessie Neace: There's Dorothy Yarbrough: Well Jessie Neace: one two Dorothy Yarbrough: just Jessie Neace: three four five Dorothy Yarbrough: when Jessie Neace: six Dorothy Yarbrough: you Amanda Wassinger: It Jessie Neace: six Amanda Wassinger: it has Dorothy Yarbrough: push Jessie Neace: seven Amanda Wassinger: to Dorothy Yarbrough: a Jessie Neace: eight Amanda Wassinger: r Jessie Neace: nine Amanda Wassinger: recognise Dorothy Yarbrough: one one Jessie Neace: zero. Dorothy Yarbrough: and Amanda Wassinger: one as there could still come more. Dorothy Yarbrough: No, if you Jessie Neace: Oh, Dorothy Yarbrough: On Jessie Neace: like that. Dorothy Yarbrough: most Jessie Neace: Um Dorothy Yarbrough: T_V_s if you uh press two numbers shortly after each other, Amanda Wassinger: Yes. Jessie Neace: They'd recognise Dorothy Yarbrough: d it Yeah. Jessie Neace: it. Th Amanda Wassinger: Alright Jessie Neace: that's Amanda Wassinger: so Jessie Neace: the Amanda Wassinger: no Jessie Neace: most Amanda Wassinger: button for Dorothy Yarbrough: Yeah. Amanda Wassinger: that. Jessie Neace: That that's Dorothy Yarbrough: Yeah. Jessie Neace: very easy. Sarah Stoner: No. Jessie Neace: Yeah. Amanda Wassinger: Okay uh anyone any uh oth other functionalities of our uh remote? Jessie Neace: I think these are the the most important Sarah Stoner: Do Jessie Neace: functions. Sarah Stoner: you still have the pictures over there? Dorothy Yarbrough: Yeah. Amanda Wassinger: So Sarah Stoner: Yeah, that's about it. You do need the uh multi Or did uh No, like this one. You do need them? Amanda Wassinger: No, we'd Sarah Stoner: Yeah, Amanda Wassinger: uh just said we Sarah Stoner: I Amanda Wassinger: didn't Sarah Stoner: know. Amanda Wassinger: uh Sarah Stoner: But are we Alright, alright Amanda Wassinger: Well Sarah Stoner: uh Amanda Wassinger: uh Sarah Stoner: Now okay. Amanda Wassinger: Um well because we can't integrate it with any other uh remotes, all those buttons on those pictures are uh irrelevant. Sarah Stoner: Right. Amanda Wassinger: So just for a television is that all we need? Sarah Stoner: Yeah, it's most useable this way. Dorothy Yarbrough: Yeah. Jessie Neace: basic function. Amanda Wassinger: Teletext is gone. So all those buttons that ar are to do with teletext Oh screen placing. We'll have uh those uh buttons about uh And uh the two important ones we're l f forgetting. Uh there's um screen. You can make it wider and Sarah Stoner: Yeah. Amanda Wassinger: less wide. And the button that you can go to A_V_ for your video. Sarah Stoner: Right. I do Jessie Neace: Oh yeah. Sarah Stoner: think we have to put that underneath a clip. Amanda Wassinger: Those two? But it's just two, Jessie Neace: Uh Amanda Wassinger: and we make Jessie Neace: just Amanda Wassinger: a clip? Jessie Neace: two just two under uh under Amanda Wassinger: Th that's Jessie Neace: uh Amanda Wassinger: a Dorothy Yarbrough: We Amanda Wassinger: bit Dorothy Yarbrough: we Amanda Wassinger: uh Dorothy Yarbrough: can make Amanda Wassinger: waste. Dorothy Yarbrough: make uh a little row of like four buttons down here. Amanda Wassinger: Yes. Sarah Stoner: Yeah. Okay, right. Jessie Neace: I Amanda Wassinger: Or Jessie Neace: I think Amanda Wassinger: at Jessie Neace: uh Amanda Wassinger: the top. Your L_C_D_ screen is Dorothy Yarbrough: Or Amanda Wassinger: going Dorothy Yarbrough: at Amanda Wassinger: to go. Jessie Neace: But you you can Dorothy Yarbrough: Yeah Jessie Neace: put Dorothy Yarbrough: alright Jessie Neace: uh Dorothy Yarbrough: then. Jessie Neace: two or three buttons under uh another section. Uh that's that's too complicated. Amanda Wassinger: Yes. Jessie Neace: You can just put it somewhere They Amanda Wassinger: Yeah Jessie Neace: they aren't used much, not as much as those other, so you Dorothy Yarbrough: Oh, Jessie Neace: can Dorothy Yarbrough: they Jessie Neace: put Dorothy Yarbrough: can Jessie Neace: it somewhere Dorothy Yarbrough: be small or round Jessie Neace: Yeah s Dorothy Yarbrough: like Jessie Neace: bit Dorothy Yarbrough: buttons. Jessie Neace: smaller and s Well uh and and I think more at the bottom. Yeah. Yeah or at the top, yeah. What do you think uh those those buttons? Above Amanda Wassinger: Well I Jessie Neace: or Amanda Wassinger: think they Jessie Neace: down? Amanda Wassinger: should in an in an isolated part of the remote. Jessie Neace: And w where? Well we design it later. We have it, and we design Amanda Wassinger: Yes? Jessie Neace: later where everything Amanda Wassinger: Yes. Jessie Neace: goes. Yeah. Amanda Wassinger: Yes. Well any other uh Sarah Stoner: Well if you you Dorothy Yarbrough: Why go Sarah Stoner: take Dorothy Yarbrough: to Sarah Stoner: those Dorothy Yarbrough: video? Sarah Stoner: th If you Amanda Wassinger: Go to video, that's always on your remote control. Sarah Stoner: Yeah, but Amanda Wassinger: To Sarah Stoner: you can z Amanda Wassinger: A_V_ Sarah Stoner: you Amanda Wassinger: uh Sarah Stoner: can Amanda Wassinger: to Sarah Stoner: zap Amanda Wassinger: A_V_ Sarah Stoner: t Jessie Neace: The Sarah Stoner: you Jessie Neace: the video Sarah Stoner: can Amanda Wassinger: A_V_ Jessie Neace: channel Sarah Stoner: you Jessie Neace: uh? Sarah Stoner: can zap Amanda Wassinger: A_V_. Sarah Stoner: to the video channel Dorothy Yarbrough: That's Sarah Stoner: from Dorothy Yarbrough: just Sarah Stoner: zero Dorothy Yarbrough: zero. Sarah Stoner: to uh Dorothy Yarbrough: Yeah. Amanda Wassinger: Well Jessie Neace: No no Amanda Wassinger: l Jessie Neace: not Amanda Wassinger: n no Jessie Neace: always. Amanda Wassinger: not at not at Jessie Neace: Ze Amanda Wassinger: my remote. Jessie Neace: yeah zero is a different channel than uh Amanda Wassinger: Yeah. Jessie Neace: the Dorothy Yarbrough: Yeah, Jessie Neace: the Dorothy Yarbrough: but Jessie Neace: video Dorothy Yarbrough: you can Jessie Neace: channel. Dorothy Yarbrough: can zap Sarah Stoner: Yeah, but Dorothy Yarbrough: down Sarah Stoner: when you zap down zero Amanda Wassinger: Yes. Sarah Stoner: you get to A_V_. Dorothy Yarbrough: Yes, I Amanda Wassinger: I Dorothy Yarbrough: think Amanda Wassinger: don't. Dorothy Yarbrough: th Amanda Wassinger: I go to ninety-nine. Dorothy Yarbrough: No, Sarah Stoner: Ah uh Dorothy Yarbrough: then Sarah Stoner: well Dorothy Yarbrough: you press ninety Sarah Stoner: whatever, Dorothy Yarbrough: nine. I think go to video is an Amanda Wassinger: Th Dorothy Yarbrough: irrelevant Amanda Wassinger: that's the button Dorothy Yarbrough: button, Amanda Wassinger: uh Dorothy Yarbrough: but Amanda Wassinger: No. Jessie Neace: But it's easy to go If you are at uh at channel uh fifty five and you want to uh go immediately to the video channel, you do you have to push a to Amanda Wassinger: No Jessie Neace: to get Amanda Wassinger: you can Jessie Neace: below Amanda Wassinger: ch push Jessie Neace: zero. Amanda Wassinger: zero. Jessie Neace: It's more Amanda Wassinger: Yeah. Jessie Neace: easy to get to uh Amanda Wassinger: Yeah, I I Jessie Neace: where the Amanda Wassinger: think Jessie Neace: specific uh Amanda Wassinger: that Jessie Neace: video Amanda Wassinger: one Jessie Neace: channel Amanda Wassinger: button Jessie Neace: button. Amanda Wassinger: is uh I use it uh Sarah Stoner: Yeah, but if we're choosing to uh incorporate these buttons, you have to have uh channel setting, if you wa if you have a new T_V_. You have Amanda Wassinger: Yeah? Sarah Stoner: to set the channels. Right all th these uh different buttons you Amanda Wassinger: These Sarah Stoner: have Amanda Wassinger: buttons, Sarah Stoner: to Amanda Wassinger: I don't have buttons for channel setting uh especially on my remote. Sarah Stoner: Ah, Jessie Neace: Yeah well Sarah Stoner: I do. Jessie Neace: uh Amanda Wassinger: It's Jessie Neace: d Amanda Wassinger: it's Dorothy Yarbrough: Yeah well Jessie Neace: different Amanda Wassinger: incorporated Jessie Neace: screen settings Amanda Wassinger: with Dorothy Yarbrough: y you must Amanda Wassinger: p Dorothy Yarbrough: have. Jessie Neace: a Amanda Wassinger: m Jessie Neace: Yeah, sk Amanda Wassinger: plus and down, uh Jessie Neace: Yeah y Amanda Wassinger: those Jessie Neace: you you you Dorothy Yarbrough: Yeah you yeah Jessie Neace: you Dorothy Yarbrough: you have Jessie Neace: have Dorothy Yarbrough: one Jessie Neace: screen width. Dorothy Yarbrough: one button from s set frequency o or something, and then with plus and min minus you can uh adjust Sarah Stoner: Right. Dorothy Yarbrough: the uh Sarah Stoner: That's the only one we put uh in there. Amanda Wassinger: So we still have one uh four? Sarah Stoner: For a screen uh fu uh Amanda Wassinger: Ch Sarah Stoner: channel setting. Amanda Wassinger: ch Jessie Neace: Yeah to uh oh yeah of course to configure Sarah Stoner: Programme, Jessie Neace: the Sarah Stoner: right. Jessie Neace: programme Amanda Wassinger: Okay. Jessie Neace: the Amanda Wassinger: Oh the Okay button? Jessie Neace: Yeah. Sarah Stoner: Uh Amanda Wassinger: Oh you always have in the centre an Okay button, Jessie Neace: Yeah. Dorothy Yarbrough: Yeah, alright. Amanda Wassinger: for your menu. Menu button. Jessie Neace: You should Yeah. I think that's important. Uh Amanda Wassinger: Channel, setting, menu. We Jessie Neace: And and the settings Amanda Wassinger: have Jessie Neace: to change the brightness Amanda Wassinger: to go. Jessie Neace: the settings to change the brightness and the contrast. Amanda Wassinger: Okay. Jessie Neace: Channel, yeah. Amanda Wassinger: So um Jessie Neace: Chief? Amanda Wassinger: Save. Jessie Neace: Chief? Amanda Wassinger: Yes see. Jessie Neace: Th the menu menu button is also important. Then Amanda Wassinger: Yes Jessie Neace: you can Amanda Wassinger: I have Jessie Neace: uh Amanda Wassinger: put it in. Jessie Neace: Where? I don't see it. Amanda Wassinger: Here. Jessie Neace: Oh Menu, alright. Dorothy Yarbrough: I think things like uh contrast and brightness should be um Jessie Neace: In the menu. Dorothy Yarbrough: in the menu, Jessie Neace: And Dorothy Yarbrough: yeah. Jessie Neace: you can uh then adjust it with the zapping buttons or something. Dorothy Yarbrough: Yeah, the Jessie Neace: Because uh Amanda Wassinger: Alright. Jessie Neace: the zapping buttons aren't Dorothy Yarbrough: Or Jessie Neace: used Dorothy Yarbrough: the volume Jessie Neace: then if you Dorothy Yarbrough: or Jessie Neace: are in Dorothy Yarbrough: something Jessie Neace: the menu. Dorothy Yarbrough: like Amanda Wassinger: Guys? Dorothy Yarbrough: that. Jessie Neace: Yeah. Or Amanda Wassinger: We're Jessie Neace: the Amanda Wassinger: going Jessie Neace: volume, Amanda Wassinger: to Jessie Neace: yeah. Amanda Wassinger: uh go to our uh rooms, and uh we'll Dorothy Yarbrough: Your pen. Amanda Wassinger: have to decide s Sarah Stoner: Ah. Amanda Wassinger: things on our own I think. Sarah Stoner: Great. Amanda Wassinger: So Jessie Neace: Yes chief. Sarah Stoner: Alright. Dorothy Yarbrough: I thought Amanda Wassinger: Well Dorothy Yarbrough: we'd Amanda Wassinger: see Dorothy Yarbrough: uh Amanda Wassinger: you Dorothy Yarbrough: lunch Jessie Neace: Yeah Amanda Wassinger: uh Jessie Neace: this Amanda Wassinger: W w Jessie Neace: is Dorothy Yarbrough: uh Amanda Wassinger: we Dorothy Yarbrough: right Amanda Wassinger: have lunchtime, Dorothy Yarbrough: now, Jessie Neace: this Dorothy Yarbrough: or Jessie Neace: is your Dorothy Yarbrough: not? Jessie Neace: thing. Amanda Wassinger: by the way, now Sarah Stoner: Ah. Dorothy Yarbrough: Yeah, Amanda Wassinger: uh so Sarah Stoner: Okay. Dorothy Yarbrough: lunch Amanda Wassinger: uh Dorothy Yarbrough: break. Jessie Neace: I am hungry. Amanda Wassinger: Lunch. Sarah Stoner: Get into my belly. Amanda Wassinger: Ah. We didn't exactly do everything Jessie Neace: See you later mate. Amanda Wassinger: but So

There are some new requirements for the project: the device will have to be for TV only, they should ignore the teletext function, as it is dated, and, also, the remote should be recognisable as a Real Reaction product. The target group will be people below 30. It transpires that customers are willing to pay more for fancier looking remotes, especially if they include LCD screens and speech recognition. Functions like zapping are very prevalent, as well as complaints about remotes being difficult to learn and easy to lose. The function of the remote is relatively simple: by pressing a button a current is passed to the chip, and defines what signal is to be sent to the receiver (the TV) via infrared. The team agreed to follow a user-centred approach and simplify the design by somehow minimising the number of buttons. They plan to include an LCD screen to display relevant information. Other functions are served by push buttons: OK, menu, screen sizing, AV, settings buttons, mute, digits 1-9, power, volume control, channel up/down with the last three types being prominent on the device. The exact design and placement of the components will be decided in the next meeting.

amisum

train

Evelyn Mccleese: Okay. Well, let's start. What are doing? Oops. Jean Price: Hmm. Ma Estep: Ah, pinball. Evelyn Mccleese: Okay. Okay. Not doing. Joanna Notti: Mm. Evelyn Mccleese: Uh Joanna Notti: Ah. Jean Price: Oh. Joanna Notti: Hey. Ah. Now I have my screen back too. Evelyn Mccleese: Very good. Okay. Joanna Notti: Yeah. Evelyn Mccleese: we have presentations. So first, it's your turn. Jean Price: Mine. Oh Evelyn Mccleese: Yeah. Jean Price: great Ma Estep: Huh. Evelyn Mccleese: Isn't it amazing. Joanna Notti: Yeah. Very interesting. Jean Price: Uh Evelyn Mccleese: Industrial Designer. Interface concept. Jean Price: Yes, well uh let's uh talk about the interface uh concept. Uh, first I'll uh I'll uh discuss the buttons we just chose, uh show you some samples, uh uh discuss some colours and design maybe, already. And uh my personal preferences. Well we chose the power button to switch the television on and off. The bu uh the mute button to switch the volume on and o on and off. and uh off uh uh zero to nine, and the uh button to choose uh higher channels than nine. Uh the volume and channel quadrants, uh left and right, up and down arrows, to uh do the volume and channel. And the menu menu button to man manipulate the L_C_D_ uh display. Um, I found some uh interesting uh uh samples. Examples. Um, well uh what's pretty standard is uh that it's that they're all pretty uh uh high uh Joanna Notti: Large. Jean Price: Yeah. Joanna Notti: A Jean Price: Yeah. Joanna Notti: lot Jean Price: Large Joanna Notti: a lot of buttons Jean Price: and and and Joanna Notti: buttons. Jean Price: pretty thin and uh and long. Um, power buttons are mostly at the top uh left or right. Um, well we see the the the same uh arrows. Like there. And uh Yeah, well arrow b buttons can be blue. And what's interesting is the the the icons on the buttons. Some buttons have icons like the play and stop, but we don't use that. But uh, these we we have to choose the right icons, or or letters. Uh this is the V_ for volume, but they're both uh a V_. So it's it's not really very uh clear what's the function of that. Joanna Notti: Yeah. Jean Price: Um Yeah. So, that's Evelyn Mccleese: Can you go back one page? For the uh menu, what do we use for that? Jean Price: Uh, Evelyn Mccleese: We don't Jean Price: well Evelyn Mccleese: have buttons for the menu. Or we may use channel of volume and Jean Price: Yeah. I thought that was our uh idea. Evelyn Mccleese: Okay. Jean Price: So, Evelyn Mccleese: But Jean Price: uh Evelyn Mccleese: uh Jean Price: how Evelyn Mccleese: You have to put it on the Jean Price: Like this. Evelyn Mccleese: Yeah. Jean Price: Or or this. And that the menu button is okay. Evelyn Mccleese: Yeah but, has to be clear that you can use the arrows. Jean Price: Yeah, okay. Joanna Notti: Yes. Jean Price: Uh, so the The icons on the arrows, as well, you Evelyn Mccleese: Mm-hmm. Jean Price: mean. Evelyn Mccleese: Yes. The second one. Jean Price: Yeah. Uh, well that's something to uh think about. Evelyn Mccleese: Okay. Ma Estep: Uh, maybe I'll have something in my uh presentation. And Jean Price: Okay. Ma Estep: you Joanna Notti: Okay. Ma Estep: will see it. Jean Price: Um, well I don't I don't know if we have to discuss this already, or in the next uh meeting. But uh, as we have to uh to to design the the case and the whole uh remote control in our uh our our corporate uh company uh uh colours and the logo, I would uh recommend a yellow case. Uh, round edges. The logo at the bottom. And uh, well maybe each each uh set of buttons uh has uh has his own colour. So, it's good. Uh, recognisable. K so, I think. Evelyn Mccleese: Not too much colours. Jean Price: Uh, no. Not too much. But uh Evelyn Mccleese: No, it's not flower power. Jean Price: No, no, no. But this has to be has to be trendy and uh Evelyn Mccleese: S okay. Jean Price: and Uh, yeah so good uh good icons on the buttons, and uh and big buttons is my uh personal uh opinion. Evelyn Mccleese: Okay. Jean Price: That was that. Evelyn Mccleese: Thank you. So, you're next. Ma Estep: I'm next, okay. Ma Estep: Yes. No. Here we go. Uh, at Joanna Notti: Okay. Ma Estep: first we will uh I will f Joanna Notti: Mm-hmm. Ma Estep: uh say something about what younger people want, our uh group w uh w uh we want to uh sell our remote controls to. And I'll discuss what my opinion is about the costs, about uh what battery is in it, what kind of buttons also. First uh, the younger people, they want like soft mat uh materials and primary colours. Like, totally yellow, totally red. Uh, so it's visible. Uh, the shapes are curved and round, like uh you also said. Maybe it's nice to uh get a remote control not like all the other ones, straight and uh flat and long. But to give him the shape of your hand, so you it's easier to use or something like that. But that's just an idea. And then, I'll have to discuss about the costs uh of all the things for the remote control. The battery, there are few options. Uh, I think the best option is to use uh the basic battery. So, everybody can buy it uh at the at the supermarket. Or use uh a k uh kinetic battery like uh within a watch. When you uh shake it a few times, it it's loaded. Uh, the the form of the remote control, I think it's also nice have it curved. And maybe like it's hand-shaped. Uh, so uh you take it here in your hand and here are the buttons. Uh material, you use plastic. Hard plastic uh because uh it won't have to burst uh like in the in one time. And also rubber because the younger people like that, what we see in the research. Uh the push-buttons. We have one new thing uh discovered. It's a scroll push uh thing like a mouse. Maybe it's uh easy to use uh for the channels. When you want to go m move up, you just scroll up and click on the button, if you wanna see the next, uh if you wanna see that channel. And also for the mouse, uh for the volume, it's also uh easy to use. Just scroll a bit up, scroll a bit down. And that's also easy just w when you have a thing like this, and you get it here. You can do it with your thumb. And with your Joanna Notti: Hmm. Ma Estep: l left hand you can uh push the buttons uh if you push uh channel one, you can see channel one. The electrics um with a scroll push uh button, we must use regular uh chips. There are also uh simple chips. They are uh cheaper. Um, but then we have just a basic uh uh remote control, and I think there are a lot of those uh things, and people won't buy it any more. They have seen enough of it. And you have also advanced um chips. But that's with the L_C_D_ uh screen. And the costs will increase a lot more. And I think our budget is too low to use and an L_C_D_, and the chip who is more expensive. And maybe it's also then uh thoughtful if we u uh use uh as um different kind of uh shapes for the for remote control, that we then use the primary colours. Like, you get a yellow uh remote control, red one, blue one, et cetera. You have any more questions about this? I think the main Joanna Notti: Yep. Ma Estep: thing is we look at the costs. Evelyn Mccleese: Hmm. Ma Estep: And not too basic, not a Joanna Notti: Yeah. Ma Estep: basic remote control, who Joanna Notti: But, Ma Estep: everybody Joanna Notti: thi Ma Estep: already Joanna Notti: i uh Ma Estep: has. Joanna Notti: This is with an L_C_D_? No, Ma Estep: Not Joanna Notti: not. Ma Estep: with an L_C_D_. Evelyn Mccleese: No, isn't. Ma Estep: No. Evelyn Mccleese: But the L_C_D_ is easy when you use the scroll uh buttons. Then you can scroll, you see what number, Ma Estep: Yeah. Evelyn Mccleese: and then you push. Ma Estep: But then, what I say, the costs will uh get a lot higher. Evelyn Mccleese: But then it's not easy to use scroll uh wheel. Ma Estep: Th then Evelyn Mccleese: If Ma Estep: you'll Evelyn Mccleese: you Ma Estep: see Evelyn Mccleese: don't Ma Estep: it on the television. Evelyn Mccleese: Hmm, yes. But then. Yeah, then you go one down one up. When Ma Estep: Yeah Evelyn Mccleese: you scroll. Ma Estep: but l when you see a menu uh on the television, it's like you see uh one to twenty, you go uh uh s scroll Evelyn Mccleese: Yeah but Ma Estep: up, Evelyn Mccleese: like Ma Estep: and Evelyn Mccleese: we said Ma Estep: push Evelyn Mccleese: before, Ma Estep: number tw Evelyn Mccleese: it Ma Estep: twenty. Evelyn Mccleese: has to be used on every television. So you may not be uh No. The television must do that. Ma Estep: Mm-hmm. Evelyn Mccleese: So Ma Estep: Yeah, I think the younger people will have newer televisions, which can provide our uh Evelyn Mccleese: Yeah Ma Estep: remote Evelyn Mccleese: but Ma Estep: control. Evelyn Mccleese: young people have to have all their uh room. And mostly they are smaller. Ma Estep: Yes. Evelyn Mccleese: So Ma Estep: But that won't be a problem. I think. Evelyn Mccleese: Most the times that are not advanced televisions. Ma Estep: No, but then we'll get to the regular uh remote controls. And I think, what I said, everybody has them uh has them already. And they go to a uh supermarket and buy them uh for two Euros. Uh, and ge and get the most cheapest uh thing. And I think we must look further to uh to devel d develop something news. Evelyn Mccleese: Okay. Joanna Notti: Uh, can you give an indication in b uh in the cost difference between uh the chip with L_C_D_ or without? Ma Estep: I got it on my screen and it was uh higher. But I don't know uh how much higher. Joanna Notti: 'Cause it I think Evelyn Mccleese: That's Joanna Notti: if Evelyn Mccleese: important. Joanna Notti: we have an L_C_D_, it will also sell a lot better. Ma Estep: That's true. Joanna Notti: And that might uh bring back the costs uh Ma Estep: But then we'll I think we must discuss who uh what will be better. If we have a better shape of the um remote control, or better options on it. With a scroll menu, a w scroll thing, and a L_C_D_. And then a flat um remote control. remote control, with scroll, without L_C_D_. Evelyn Mccleese: Yeah. Maybe you can look how how much it is Ma Estep: I can Evelyn Mccleese: for Ma Estep: uh Evelyn Mccleese: the Ma Estep: look on my Evelyn Mccleese: L_C_D_. It's Ma Estep: uh Evelyn Mccleese: very important. Ma Estep: Uh Note that the push-button requires a simple chip chip. A scroll wheel requires minimally a regular chip, which is a higher price range. The display requires a advanced chip, which is which in turn is more expensive than the regular chip. Evelyn Mccleese: Yeah, more expensive. But how much? Ma Estep: Doesn't say. Evelyn Mccleese: Oh. Joanna Notti: Huh. Jean Price: Hmm. Evelyn Mccleese: Okay. Ma Estep: That's from my manufacturing division. Evelyn Mccleese: Okay. Joanna Notti: 'Kay. Evelyn Mccleese: Well, thank Joanna Notti: My Evelyn Mccleese: you. Joanna Notti: turn? Ma Estep: Yes? Evelyn Mccleese: Next. Joanna Notti: Mm. So So Yeah. So, my uh presentation is about trend-watching. Uh, I did some trend-watching. It's very important to uh keep up with latest trends. 'Cause if you don't, you won't sell. So, well how we did do that? Uh, well we made an investigation of the market, by Trendwatchers. They uh watch in uh cities like uh Paris and Milan. Of course, well known for their uh trend uh trends. And well, uh what did you find? Uh, we have two groups, young and trendy, and the old and rich. Well th and the young and trendy, they uh they starting to like uh fruit and vegetables uh as a theme for n uh clothes, shoes, and also uh products. And um, material? That should feel have uh a spongy feeling. And to get a feeling for what it is, uh here is an image of it. Then the old and rich. They like uh dark colours, and simple, recognisable shapes. And um, they also like uh familiar material, uh especially wood. Now, another picture. To get a feeling for this. Well, uh then already come to my personal preferences. We uh aim at the younger market. So, we should also be uh look at their uh trends. However, with trends it's always if there's it's now. It it it might last one year, and next year it be uh can be totally different. And I think we want to sell our product for longer than one year. So, we m must not just only look at what the trend is now, as it might be totally different next year. So, that's uh one thing to keep in mind. Ma Estep: Changing covers. Joanna Notti: Yeah. Any questions? Ma Estep: Nope. Jean Price: No. Evelyn Mccleese: No. It's clear. So now, it's uh Ah, let's see. Evelyn Mccleese: Now, w we have to decide Evelyn Mccleese: Well, we have to decide on the concept. So, we have to look at 'S next. Components and user interface concept. So Now, we have to make some concept. Maybe one of you can paint it on the board. First, uh user interface. Ma Estep: Uh, uh-uh. How w how we how we make it? Uh Evelyn Mccleese: Yes, a concept on uh Ma Estep: Shouldn't Evelyn Mccleese: Just Ma Estep: we first Joanna Notti: Yeah. Ma Estep: discuss about like what w Evelyn Mccleese: Yeah, but Ma Estep: we Evelyn Mccleese: maybe Ma Estep: all Evelyn Mccleese: we can paint it. Uh, what do we want? Ma Estep: Yeah, but if I paint with Evelyn Mccleese: I'll paint. Okay. Well Joanna Notti: Mm. Evelyn Mccleese: Something like this? Or Jean Price: Mm, Evelyn Mccleese: Shapes Jean Price: yes. Evelyn Mccleese: or What do we need? Joanna Notti: Can make Jean Price: What? Joanna Notti: several uh concepts. Evelyn Mccleese: Yes, okay. Joanna Notti: We have this, and we had the idea of an um a more uh uh uh like sh in the shape of your hand. Evelyn Mccleese: Okay. Ma Estep: More like something Joanna Notti: Yeah I I I uh yes. Ma Estep: M like Yeah I can't dr I can't draw it. Uh Evelyn Mccleese: And you have to. Ma Estep: I have to. Evelyn Mccleese: Yeah. Ma Estep: I'm not a designer. It's more three D_. Like, um when you have a part here. This is the remote control. And then you have something like th this under it. So, it's easier Jean Price: Mm. Ma Estep: to get it like this. Jean Price: Yeah. Joanna Notti: Yeah. Ma Estep: It's like a gun. Joanna Notti: A Evelyn Mccleese: So, it has to be Joanna Notti: g Evelyn Mccleese: soft? Joanna Notti: Mm. Ma Estep: And it has to be soft, yeah. Evelyn Mccleese: Okay. Ma Estep: So, you can Evelyn Mccleese: And uh, Ma Estep: squeeze Evelyn Mccleese: the Ma Estep: in Evelyn Mccleese: buttons? Ma Estep: it and Sorry? Evelyn Mccleese: Buttons. Ma Estep: Buttons on top of it. And here. The scrolling. You can do it with your thumb. Jean Price: But but i that's the only scroll uh button on it then? Ma Estep: But Evelyn Mccleese: No, Ma Estep: now Evelyn Mccleese: it Ma Estep: we Evelyn Mccleese: won't. Ma Estep: use one scroll button and the other one is here. One till uh uh zero till nine. Evelyn Mccleese: But, Jean Price: Yeah, okay. But Joanna Notti: Yeah. Evelyn Mccleese: well Ma Estep: And Jean Price: but Evelyn Mccleese: there Ma Estep: the Evelyn Mccleese: one Ma Estep: b Jean Price: how Evelyn Mccleese: for the sound and one for the channels. Jean Price: Yeah. Ma Estep: Yeah? Jean Price: How Ma Estep: Or two buttons. Jean Price: Okay. Joanna Notti: And Evelyn Mccleese: Uh, Joanna Notti: i if Evelyn Mccleese: two Joanna Notti: we go Evelyn Mccleese: scroll Joanna Notti: to uh Evelyn Mccleese: uh Ma Estep: If Evelyn Mccleese: wheels. Ma Estep: uh 'Kay c If we do If we use one, then we'll have just a switch on it, and you'll just switch it, and now it's Jean Price: Mm. Ma Estep: the sound to switch Evelyn Mccleese: That's th Ma Estep: back Evelyn Mccleese: that's more difficult. Joanna Notti: But if we have Evelyn Mccleese: It's Joanna Notti: uh Evelyn Mccleese: better Joanna Notti: a Joanna Notti Evelyn Mccleese: in Joanna Notti: Yeah. If we have a menu, uh how do we uh choose other options? Ma Estep: with the menu uh button. And then you also can scroll uh scroll in it. Just not like all Joanna Notti: Yeah. Ma Estep: the other ones, with uh this thing, and uh here an arrow, here an arrow, here an arrow, here an arrow. Because uh, from h hundred uh remote controls, ninety nine have it. Evelyn Mccleese: But Jean Price: Yeah. Evelyn Mccleese: if we don't have a L_C_D_ we don't have a menu. Ma Estep: Uh, Joanna Notti: Uh-uh. Ma Estep: then we have it on the T_V_, the menu. Evelyn Mccleese: Yeah, but again maybe th How do we know the T_V_ can handle it? You don't know. So, Ma Estep: I Evelyn Mccleese: there's Ma Estep: don't Evelyn Mccleese: no Ma Estep: know. Evelyn Mccleese: menu. Ma Estep: It's like some sort of uh teletext option, but we don't have teletext. Evelyn Mccleese: No. So you can't use it. Ma Estep: And if we put an L_C_D_ thing on it, then the costs will uh be much higher. Evelyn Mccleese: Okay, we make two concepts. One with L_C_D_. One without L_C_D_. Ma Estep: 'Kay. But you all like this kind of thing. Uh Evelyn Mccleese: Good concept. But Ma Estep: With the scroll button. Evelyn Mccleese: That's one. Ma Estep: And and this one Joanna Notti: Uh-uh. Ma Estep: has to be soft. And this has to be harder, because when it falls, it mu mu must not burst. Or some kind of rubber around it. Jean Price: Mm-hmm. Evelyn Mccleese: It's one. Two. Number two. Jean Price: And you can and you can uh make the the power button as a trigger. Like Ma Estep: Yeah. Jean Price: uh Ma Estep: Yeah. Ah that's nice. Here. Trigger. Evelyn Mccleese: No. Jean Price: Just Evelyn Mccleese: But Jean Price: to Evelyn Mccleese: when you handle it, Jean Price: uh Evelyn Mccleese: you put it on and off. It's not good to use. Jean Price: Oh, like Evelyn Mccleese: Yeah, but Jean Price: a Evelyn Mccleese: I'll zap. Fuck. Out. Jean Price: Yeah. Evelyn Mccleese: No, it's not good. Joanna Notti: Yeah. Evelyn Mccleese: Now, second concept. One with L_C_D_, one without L_C_D_. Then uh Paint it. Ma Estep: Paint it? With the scroll thing on, Evelyn Mccleese: One Ma Estep: like this? Evelyn Mccleese: with two scroll buttons and one with without. Yeah. Uh, one Ma Estep: So? Evelyn Mccleese: with a with a menu, and one without a menu. And the one with with a menu has an L_C_D_. Ma Estep: Draw it. Evelyn Mccleese: Unbelievable. Do I have to do everything. Blank. You have Evelyn Mccleese: Not so difficult. Jean Price: But Joanna Notti: Yeah. Jean Price: if you put push the the menu button Evelyn Mccleese: Uh, that's the menu. Jean Price: Yeah, wh Evelyn Mccleese: There Jean Price: what Evelyn Mccleese: for the L_C_D_ screen. Jean Price: Yes, but you don't know which of the scroll buttons you have to choose. Evelyn Mccleese: You have to For the menu. Jean Price: Yeah. Evelyn Mccleese: Mm-hmm. One that way. And one that way. So Then it depends on the cost. S On and off. Ma Estep: But is it easy to use? When you have it on your left side, and Evelyn Mccleese: When it's not too big. Just like a a phone. Jean Price: Mm-hmm. Joanna Notti: M uh yeah, maybe it's better if the uh scroll-wheels are um Ma Estep: Separate, more separate, Joanna Notti: more separate, Ma Estep: h yeah. Joanna Notti: yeah. Evelyn Mccleese: Yes, Joanna Notti: Like, you have Evelyn Mccleese: okay. Joanna Notti: the menu button in between uh Ma Estep: Yeah. On the left a scroll button, and on the right a scroll button. Ma Estep: But would it be easy to use then? If it's like you have a big uh Evelyn Mccleese: Very good. Is it better? When you uh the menu, you have to go there there there there. Ma Estep: I also think Joanna Notti: Yeah. Ma Estep: this concept is not what the young people were looking for. They were like round curves, uh different uh Evelyn Mccleese: Yeah, okay. That's that's the outside. Ma Estep: Okay, okay, Evelyn Mccleese: But now Ma Estep: okay. Evelyn Mccleese: the First the buttons. Ma Estep: Mm-hmm. Joanna Notti: Think we have we have now two buttons missing. The uh um The mute button. Evelyn Mccleese: Sorry? Joanna Notti: We have two buttons missing. The mute button. And um, the to to uh have to uh numbers Evelyn Mccleese: Mute. And the other. Yeah. Joanna Notti: Okay. Evelyn Mccleese: Not so difficult. Joanna Notti: But, uh Ma Estep: Personally, I think two scroll buttons uh aren't easy to handle. Evelyn Mccleese: But how do you wanna solve it? Ma Estep: With the switch button. Evelyn Mccleese: Yeah but on the menu that's not uh easy. Then Ma Estep: No Evelyn Mccleese: you Ma Estep: like Evelyn Mccleese: go down, Ma Estep: uh Evelyn Mccleese: you switch, you go into the right, you switch, you go down. Ma Estep: Oh, you mean like that. Evelyn Mccleese: Yeah. Ma Estep: Uh, then you can also have like uh th um Evelyn Mccleese: A joystick. Ma Estep: Yeah, and joystick, I think. Evelyn Mccleese: Yeah. But is it uh Does that break, a joystick? Or a small one just like in a laptop. Ma Estep: Yeah like in a laptop, s uh s some sort of thing. A little bit bigger, with Evelyn Mccleese: Mean, it's Ma Estep: easier Evelyn Mccleese: better. Ma Estep: thi Evelyn Mccleese: But how expensive it is? Ma Estep: I don't know. Evelyn Mccleese: Oh. Why do I pay you for? Um, well um Better ideas. Joanna Notti: Okay. Ma Estep: Or no scroll uh things. Just a shape. And No, no. Evelyn Mccleese: For the Ma Estep: It won't Evelyn Mccleese: young Ma Estep: work. Evelyn Mccleese: peoples I think scroll Ma Estep: Yeah. Evelyn Mccleese: button's good. Ma Estep: Uh-huh. Evelyn Mccleese: So Think we have to keep them. Ma Estep: Or a remote control more like joystick. Evelyn Mccleese: Yeah, but is it A small one. Ma Estep: A small one like this, like a Nintendo uh k Evelyn Mccleese: No just like in a Ma Estep: Playstation thing. Evelyn Mccleese: a laptop. Small, round. Then it's not so big. Ma Estep: No, no, no. I mean the the shape of the Evelyn Mccleese: Oh the Ma Estep: remote Evelyn Mccleese: sh Ma Estep: control. Just Evelyn Mccleese: Yeah, Ma Estep: like a Evelyn Mccleese: but Ma Estep: Playstation Evelyn Mccleese: then Ma Estep: thing. Evelyn Mccleese: you can to use t with one hand. Ma Estep: Yeah. Evelyn Mccleese: So Maybe, if it's possible, it's not too expensive, I think a joystick is better. A small one. So, please look at it. Ma Estep: No, that's okay, I got Joanna Notti: And on the L_C_D_, how much it costs? Uh, it costs extra? Ma Estep: Uh they're not uh in details. It's more expensive or Evelyn Mccleese: Yeah Ma Estep: less Evelyn Mccleese: we Ma Estep: expensive, Evelyn Mccleese: I think Ma Estep: huh? Evelyn Mccleese: you get it. So, after this meeting you have half an hour to uh fix it. Ma Estep: Then I have to come with it. Evelyn Mccleese: Yes. Ma Estep: I got my personal costs. I I don't I don't know the costs. Evelyn Mccleese: Your problem. Not mine. Ma Estep: Then I'll uh make something up. Evelyn Mccleese: Okay. So, do we have other concepts? Then for the components, we use a normal battery. Jean Price: Mm, Evelyn Mccleese: Then it's Jean Price: yeah. Evelyn Mccleese: Ch cheapest Ma Estep: Yeah, or Evelyn Mccleese: way, Ma Estep: the Evelyn Mccleese: I think. Ma Estep: or the kinetic uh with normal Evelyn Mccleese: No, Ma Estep: battery. Evelyn Mccleese: no kinetic. Ma Estep: Yeah, I think it's Evelyn Mccleese: Kinetic Ma Estep: uh, yeah, Evelyn Mccleese: is uh ch makes it more expensive. Ma Estep: more expensive. Yeah. Evelyn Mccleese: So Joanna Notti: Yeah. Evelyn Mccleese: we use a normal battery. Jean Price: Yeah. Ma Estep: Okay. Joanna Notti: Yes. Evelyn Mccleese: Chip. Depends on the L_C_D_. Ma Estep: Depends on the scroll. Evelyn Mccleese: Scroll. Ma Estep: If we use a scroll, then we have the uh regular chip. If we don't use a scroll, then we can use the simple chip. And Evelyn Mccleese: Yeah. Ma Estep: that's Evelyn Mccleese: And uh, we If you use the L_C_D_, we have to Ma Estep: Uh the most expensive. Evelyn Mccleese: Yes, Ma Estep: Yeah. Evelyn Mccleese: okay. So, depends on the L_C_D_ Ma Estep: If we Evelyn Mccleese: and the scroll. Ma Estep: Yeah. Evelyn Mccleese: Okay. Ma Estep: If we No okay scroll-wheel. So, I have this. So, it will be uh the advanced chip, or the uh regu uh or the regular chip. Evelyn Mccleese: Okay. So, uh the shapes of the design depends on the L_C_D_ and But, it has to be small. I think. Ma Estep: Or shall we just put it on the pistol thing? And then just put also on L_C_D_ on it? Evelyn Mccleese: If you have pistol, it L_C_D_'s not easy. Y y Ma Estep: Just use your thumb. Evelyn Mccleese: Yeah but If you use a phone. Ma Estep: If you Yeah. I use my thumb. Evelyn Mccleese: k Yeah, but but then you have it. Like, th if you have pistol, you have it so. Ma Estep: Yeah. Evelyn Mccleese: And the screen is Well, Ma Estep: If Evelyn Mccleese: then Ma Estep: you have Evelyn Mccleese: you Ma Estep: a joystick Evelyn Mccleese: have Ma Estep: on Evelyn Mccleese: to keep it this way to look at the screen. Ma Estep: No, if you have like uh an uh uh a ni a uh Playstation uh game controller. Evelyn Mccleese: Yeah. Ma Estep: And you move up, f forward, down, left. Then you have uh just, yeah, a little bit curved. It's not just uh Evelyn Mccleese: No. Ma Estep: straight. Evelyn Mccleese: No, no. Ma Estep: That's how we use it. Joanna Notti: Uh Ma Estep: That's why they make joysticks like that, I think. Evelyn Mccleese: Yeah, but then Joanna Notti: Uh, Evelyn Mccleese: you look Joanna Notti: yeah, but Evelyn Mccleese: forward. And then you can Joanna Notti: Yeah. Evelyn Mccleese: y Ma Estep: Yeah? Evelyn Mccleese: N well, Joanna Notti: If you Evelyn Mccleese: if you have to look at it. Ma Estep: 'Kay. Here's our designer. Joanna Notti: If we have uh then something standing here, with the L_C_D_. Ma Estep: Yeah. Evelyn Mccleese: Then it goes like this. Ma Estep: Yeah, why not. Evelyn Mccleese: If th n well Ma Estep: It's for the younger people. Evelyn Mccleese: Yes, of course. Ma Estep: It's something new. Jean Price: It's Evelyn Mccleese: That's Jean Price: uh Evelyn Mccleese: good good. But the um, it may not break. Ma Estep: Now we put uh rubber around it. Evelyn Mccleese: Okay. If that's possible. Joanna Notti: Um, Ma Estep: Hard Joanna Notti: Yeah. Ma Estep: plastic, uh the shape, and around it hard uh around it rubber. And the uh the hand shape is also rubber. Evelyn Mccleese: Okay. Jean Price: Or you Joanna Notti: I Jean Price: can Joanna Notti: can't Jean Price: uh Joanna Notti: see the. Jean Price: turn it inside. Joanna Notti: But, uh the Jean Price: But Joanna Notti: easy Jean Price: that's Joanna Notti: of uh, th the ease of use wasn't uh the most important uh aspect of it. Ma Estep: Huh. Jean Price: No, that's true. Joanna Notti: Uh, for us it's about to sell it. Uh Evelyn Mccleese: Yeah of Ma Estep: This Evelyn Mccleese: course. Ma Estep: is something new. Evelyn Mccleese: Okay. Then this is the design. And the buttons are on the next page. So, depends on the cost. So, Ma Estep: Costs are okay. Evelyn Mccleese: um we have one minute. Joanna Notti: One. Evelyn Mccleese: I think. Joanna Notti: No. Evelyn Mccleese: No. Joanna Notti: You have more. Evelyn Mccleese: More. Seven. Joanna Notti: You have still ten. Evelyn Mccleese: Next meeting. Thirty minutes. So hurry up. Ma Estep: Oh, that's us together. Evelyn Mccleese: You two stay here. Paint it. Jean Price: Okay. Evelyn Mccleese: Now you have to. So I think it's clear. Check your mail. So Joanna Notti: Yeah. Ma Estep: Yes. Evelyn Mccleese: It has to be ready in the next meeting. So Joanna Notti: What? Jean Price: Cookie. Joanna Notti: Okay. Evelyn Mccleese: Next meeting is called the detailed design. So Everyth everything has to be ready. Joanna Notti: Okay. Evelyn Mccleese: Thanks for your attention. Ma Estep: 'Kay. Joanna Notti: See you at the next meeting. Ma Estep: Bye bye.

Ma Estep gave a presentation on the interface concept, discussing which buttons will be needed and then looking at some examples of existing remote controls. He suggested using a yellow case with rounded edges and the logo at the bottom, and large, clearly marked buttons. The interface expert informed the group that young people like curved shapes, soft materials and primary colours, and suggested making a hand-shaped remote in plastic and rubber. He talked about the possibility of using a scroll button, and the different chips which could be used. The group discussed using an LCD screen, but did not have enough information about costs to make a decision. Joanna Notti talked about new trends, including the trends for spongy materials and fruit and vegetable themed products. The group had a discussion and decided to create two designs, one with an LCD screen and one without, and the interface designer drew them on the board. They put off making a final decision about using an LCD screen, scroll buttons and a menu button until they could find out about costs.

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Brenda Johnson: Okay. So, now, last time Can you uh push the button? One time please. So I'm still the secretary. Now uh, I ask you to presentate the prototype. One of your you two. Cynthia Shell: I don't care. Deborah Smith: Oh this, you mean? Cynthia Shell: Huh? Brenda Johnson: Yes. The prototype. Deborah Smith: Yes, uh this is it. Barbara Hermanson: This Brenda Johnson: Well, Barbara Hermanson: is it. Brenda Johnson: thank you. Uh, Deborah Smith: It's Brenda Johnson: now Deborah Smith: uh it's uh it's yellow. And uh, this is rubber. And and and this too. The the sides. Brenda Johnson: Yes. Deborah Smith: And the rest is hard plastic. And uh We uh we had some uh We had a new idea that that this can uh can be uh uh turned inside. And then it covers the these buttons Brenda Johnson: Okay. Deborah Smith: until Barbara Hermanson: Yes. Deborah Smith: here or something. the mute and the the joystick. Brenda Johnson: Mm-hmm. Deborah Smith: So, you can still operate uh all the things. Because you don't always use the menu. And then it can break. Brenda Johnson: Okay. And the buttons? Deborah Smith: Uh, well uh Big buttons. And everything is blue, except the power button. And the mute. Of uh yeah, and the mute and the the other button. Yeah. Channel higher channel button. Barbara Hermanson: Yeah. Brenda Johnson: And the joystick is for the volume and the channels. Deborah Smith: Uh, yes. Cynthia Shell: Yes. Deborah Smith: Yes, that's uh Very obvious. Cynthia Shell: Up is channel up. Down is channel down. To the right is volume up. To the left is volume down. Deborah Smith: Yeah. Brenda Johnson: Okay, so if joystick and L_C_D_. What's the R_R_ d Cynthia Shell: The R_R_? Deborah Smith: R_R_'s the l the the the the company uh Brenda Johnson: Okay. Deborah Smith: logo. Brenda Johnson: Very good. So, Barbara Hermanson: That's Brenda Johnson: we Barbara Hermanson: on the Brenda Johnson: have Barbara Hermanson: rub rubber part. Deborah Smith: Uh, yes. Yes. That's about here. Brenda Johnson: So, what they say on the side is put fashion there. Yes. It's good. Deborah Smith: Oh. Brenda Johnson: So, Barbara Hermanson: Yeah? Brenda Johnson: that's it. That's prototype. Now, the finance. We don't know if it's th Barbara Hermanson: Alright. Brenda Johnson: it if it's okay. So, I'm Barbara Hermanson: Do we Brenda Johnson: gonna look. Barbara Hermanson: Do Brenda Johnson: We Barbara Hermanson: we change Brenda Johnson: have Barbara Hermanson: the Brenda Johnson: Sorry? Barbara Hermanson: Do we change the the order? Or are we going to uh Brenda Johnson: Finance is um Barbara Hermanson: ev evaluate Brenda Johnson: Yeah it's Barbara Hermanson: it first? Brenda Johnson: No, first uh Yes. We have to evaluate the product Barbara Hermanson: Okay. Brenda Johnson: yet. Sorry. Barbara Hermanson: That's uh um That can be none. Barbara Hermanson: Um, we gonna do the evaluation now, together. But I have uh a introduction how it works. So, it will come up. Uh-oh. Okay. Um, yeah. Well, we uh uh, I have um thinked a few evaluation uh criterias, uh based on um our marketing strategy, on uh the latest trends, on user preferences. Uh, we have a seven point scale from uh true, as well. To false, seven? And on base of each c uh criteria, we need to um give a rating. We can uh Well, it look like this. But we gonna uh do it here, they said. So, you hope found out how to do it with a Word document. Barbara Hermanson: Yeah. Barbara Hermanson: Okay, yeah. Yeah. Um, well uh we have the Word document Brenda Johnson: Criteria. Barbara Hermanson: You So we open up that blank here. Um Think I can Uh, what this just an example. So, this not very important. But um, if I can get a number in here. Hmm. Brenda Johnson: No, it's Barbara Hermanson: Well, Brenda Johnson: okay. Barbara Hermanson: uh we can't Cynthia Shell: I'll Barbara Hermanson: do that. Cynthia Shell: get it. Brenda Johnson: Oh, it's okay. Barbara Hermanson: Um, so uh you have to think of it as uh the remote control is techno technologically innovative. Uh, and then we have to uh agree on the rating together. And in the end, we will c uh count an average of all rating. The first uh on each item. Brenda Johnson: What do you think? Barbara Hermanson: Yeah, I think it's uh Uh, well technologically using, it's not uh it doesn't contain many new features. Only the L_C_D_. So, it Um, I think I will give it a yeah, yeah, yeah, a four. Hmm. Cynthia Shell: I think the scroll-button is something also uh new. What uh not anoth uh, not a lot of uh a lot of uh remote controls have. I think technologically I'll give it an seven. Si six six. Sorry, Barbara Hermanson: So now Cynthia Shell: six. Barbara Hermanson: i Brenda Johnson: Yeah. Barbara Hermanson: I think you uh see it um its statement. And you true Cynthia Shell: true Barbara Hermanson: or Cynthia Shell: or Barbara Hermanson: false. Cynthia Shell: false. Oh, uh Barbara Hermanson: And true Cynthia Shell: I'll Barbara Hermanson: is one. Cynthia Shell: I'll give it Barbara Hermanson: So, Cynthia Shell: uh a t Barbara Hermanson: yeah. Cynthia Shell: a two. Barbara Hermanson: Yeah. Brenda Johnson: Two. Cynthia Shell: Sorry. Brenda Johnson: You? Deborah Smith: Three. Brenda Johnson: Barbara Hermanson too. So it's a three. Barbara Hermanson: 'Kay. Um, well It's a one. The first item. So, okay the second item. Um, this product is for all sorts of customers. Deborah Smith: Mm Barbara Hermanson: Well, it's a statement which uh I disagree with, because we uh really aim uh at at young market and I think the way it looked uh c uh totally in yellow, it's not uh really aimed for all customers. It doesn't look like that. Brenda Johnson: So it's a Barbara Hermanson: That's uh a six. Cynthia Shell: Five. Deborah Smith: Mm, four. Brenda Johnson: Yes, it's for the younger g group. Deborah Smith: Yeah, Brenda Johnson: So it's Deborah Smith: but Brenda Johnson: uh Deborah Smith: it's Brenda Johnson: half Deborah Smith: it's Brenda Johnson: half of the people. So I think it's four. Deborah Smith: Yeah. I mean it still has l large buttons and not m many buttons. So Cynthia Shell: Mm-hmm. Brenda Johnson: No. Deborah Smith: I mean, the colours are for young people, but Brenda Johnson: Yes. So, I Deborah Smith: older Brenda Johnson: think it's four. Deborah Smith: Yeah. Cynthia Shell: Maybe version uh three point O_ uh has other colours. Deborah Smith: Yeah. Maybe. Brenda Johnson: Okay. Give it a four. Cynthia Shell: Four. Barbara Hermanson: Four. Brenda Johnson: Yep. Barbara Hermanson: Uh, okay. Mm. Brenda Johnson: We put the fashion in electronics. Barbara Hermanson: That's uh the motto of our company. Yeah, well do we do this with uh this product? I um Yeah. I think if we do this, as it's uh uh c uh it's really orientates on the design. Um, so I would give it a two. Cynthia Shell: Barbara Hermanson too a two, because only the battery is not uh techin uh technologically high standard. But the rest of it is. So, I think a two. Deborah Smith: Yes. Two. Barbara Hermanson: Two. Brenda Johnson: Uh, I say uh a five. It's not fashion, it's new. It must be a fashion. But Cynthia Shell: It Brenda Johnson: it isn't. Cynthia Shell: it will be fashion. Brenda Johnson: Yes. It w If it's not a fashion we can put it in it. So, it must be a fashion. I think it's a five. Barbara Hermanson: Uh Okay. Deborah Smith: Then make it th Barbara Hermanson: Okay. Deborah Smith: three. Barbara Hermanson: Yes, I'll think of Brenda Johnson: No. Barbara Hermanson: that too. Cynthia Shell: 'Kay. Brenda Johnson: Oh. Cynthia Shell: Three Barbara Hermanson: Yeah, Cynthia Shell: is Barbara Hermanson: agree? Cynthia Shell: okay. Brenda Johnson: I use my feet though. Cynthia Shell: Oh, we'll wait outside. Barbara Hermanson: A three. Brenda Johnson: Okay. Barbara Hermanson: Yeah okay. The next element um is the product looks good. Well personally, I do not prefer a um remote control that's fully in yellow. So, I would give this a five. Cynthia Shell: I give it a one. Deborah Smith: Yes, a one. I like it. Brenda Johnson: Well, I say three. So, counting then is two and a half. Barbara Hermanson: We have to do our uh Cynthia Shell: Say two. Barbara Hermanson: Two or three? Brenda Johnson: Okay, two. Cynthia Shell: Two. Barbara Hermanson: Two. Okay. So, well we gonna do the next part. Uh, yep. Uh uh, the next statement. It has not too much buttons. Um, yeah, I I have uh said is not because uh a low number is better. And in the end we calculate an average. So, um that's why it's a negative in it. Um, well this one of our aims not have too much buttons. So, um uh did we uh do that? Well, uh if we go to uh this fashion, I We still have caused uh a lot of uh buttons for the numbers. But you can you can go for that. And um that way, you don't have a lot of buttons over. So, I would give this a two. Cynthia Shell: One. Brenda Johnson: You? Deborah Smith: One. Brenda Johnson: Barbara Hermanson too. One. Barbara Hermanson: One. Um, but where where is the? Brenda Johnson: Next, six. It Barbara Hermanson: So Brenda Johnson: does not get lost easily. Barbara Hermanson: Yeah, did we implement uh the sound? Cynthia Shell: Uh Deborah Smith: Yes. Cynthia Shell: Just a small thing. Brenda Johnson: No, we did not. Deborah Smith: Yeah, but Brenda Johnson: So, Deborah Smith: uh Brenda Johnson: but can it get lost if it's such Deborah Smith: Yeah. Brenda Johnson: a thing? Cynthia Shell: Ah. Brenda Johnson: I don't think so. Cynthia Shell: Yellow. Looks like Brenda Johnson: Yes. Cynthia Shell: a pistol. Brenda Johnson: Not Cynthia Shell: Uh Brenda Johnson: a not a normal shapes. So Cynthia Shell: It won't get between uh the Brenda Johnson: No. Cynthia Shell: pillows uh on the couch. Brenda Johnson: It Barbara Hermanson: Yeah. Brenda Johnson: won't get lost. So Cynthia Shell: Uh Barbara Hermanson: It won't. Brenda Johnson: A one? Cynthia Shell: Yeah, Deborah Smith: Yeah. Cynthia Shell: o one. Brenda Johnson: Okay, a one. Barbara Hermanson: One. Brenda Johnson: Next. Barbara Hermanson: Okay, um well we aimed for the younger market. Uh yeah, did we achieve that. I think with the way it looks and um it is designed, I will give it a two. Brenda Johnson: Yeah Barbara Hermanson Cynthia Shell: Yeah. Barbara Hermanson too. Brenda Johnson: That was our target. Two. Cynthia Shell: Two. Barbara Hermanson: Yeah. Cynthia Shell: Yeah? Brenda Johnson: Yep. Cynthia Shell: Yeah. Brenda Johnson: Right. There's a fancy look-and-feel. Barbara Hermanson: Uh, yes. That that was uh, yeah, one of the most important things that uh Trendwatch said. I didn't uh say it in my presentation. But um, well does it have that? I would say yes. So um Well, let's also give this a two. T Cynthia Shell: I gave this a one because of the rubber. It feels soft. Uh, it looks like a l uh uh b uh, a bit like a joystick. It's Yeah. Yeah, f very fancy trendy. Brenda Johnson: Okay. Deborah Smith: Yes, a one. Brenda Johnson: I say a two. It's a a bit personal. Barbara Hermanson: Yeah. Brenda Johnson: If it's fancy. So I think s two is better. Deborah Smith: Yeah, okay. Barbara Hermanson: Okay. Cynthia Shell: Two is Barbara Hermanson: Two. Cynthia Shell: okay. Barbara Hermanson: And um, then the last one I could think of, uh it goes with the latest trends. Brenda Johnson: No, it's new. Innovation. Barbara Hermanson: If we looked at the latest trends for the uh younger people, and they ate uh fruit and vegetables, well it has a um a nice colour, uh well compared to food but we didn't uh We did not paint any uh fruit and vegetable on it for something like that. Cynthia Shell: Oh. Barbara Hermanson: So, I would did not give this uh a one or two. I We'll go for a three. Cynthia Shell: I go for two because uh the the shapes are still round. Uh, the latest trends are soft things, you know, like uh I said in my presentation. Barbara Hermanson: Yes. Cynthia Shell: Uh But the the colours are um basic, like yellow, red, um blue. Something what also younger people want. It's also a trend, so I'll give it a two. Brenda Johnson: Okay. Deborah Smith: Mm, three. Brenda Johnson: Barbara Hermanson too. Three. Barbara Hermanson: A three. Brenda Johnson: Yeah. Barbara Hermanson: Okay. So um, come back to the presentation now. So, we find yourself there, and now we have to calculate an average rating. So, we Brenda Johnson: Effort Barbara Hermanson: will do Brenda Johnson: is Barbara Hermanson: that. Brenda Johnson: three, ten Barbara Hermanson: Yes. Brenda Johnson: and twelve. Thirty, forty, fifty, Twenty one. So, it's Barbara Hermanson: By nine. Brenda Johnson: uh two and three nine two and one third. Cynthia Shell: Two. Barbara Hermanson: Yeah. Um, uh okay. Two. Brenda Johnson: Yep. Barbara Hermanson: Come on. Brenda Johnson: Uh, nah. Okay. Barbara Hermanson: So uh, that's a pretty low rating, I think. Deborah Smith: Yes. Brenda Johnson: So, it's good. Barbara Hermanson: So, according to our uh own evaluation uh we did a good job. Brenda Johnson: Okay. Thank you. Cynthia Shell: Yeah, I think. Barbara Hermanson: Oh. Nah. How am I doing? Yes. And Brenda Johnson: Okay. Barbara Hermanson: I closed Brenda Johnson: Back Barbara Hermanson: your Brenda Johnson: to Barbara Hermanson: slide-show. Brenda Johnson: my uh Barbara Hermanson: Which one was the last for you? Uh, dreaming. Brenda Johnson: Yep. Brenda Johnson: Next please. Barbara Hermanson: Next. Brenda Johnson: So, now Barbara Hermanson: Finance. Brenda Johnson: uh we have a product. Very happy. But uh, is it cheap enough? Um, so if uh I'll have a look. We have a battery. One battery. Deborah Smith: Mm-hmm. Cynthia Shell: Cheapest there is. Brenda Johnson: Okay, one battery. Electronics. Advanced chip. Cynthia Shell: Expensive. Brenda Johnson: Yeah it's the most advanced. Chip-on-print. We have that one. Cynthia Shell: Well, it's the most Brenda Johnson: We have Cynthia Shell: advanced. Brenda Johnson: the simple, regular and advanced. Cynthia Shell: Advanced. Brenda Johnson: We have the adva advanced. 'Kay, so uncurved or flat. Nope. Single curved or double curved? We have double curved. Brenda Johnson: So Then we have plastic, wood, rubber. we have half rubber, half plastic. Deborah Smith: Mm, yes. Brenda Johnson: No titanium. Special colour. Yes, Barbara Hermanson: Yeah. Cynthia Shell: Uh, Brenda Johnson: yellow. Cynthia Shell: yellow. Deborah Smith: Mm, yeah. Brenda Johnson: Interface, push-button. Scroll-wheel, integrated scroll-wheel push push-button, or L_C_D_ display. So, we have the L_C_D_ We have two scroll-wheels? Or one? Cynthia Shell: One. Barbara Hermanson: One. Brenda Johnson: And it's not really Cynthia Shell: Joystick Brenda Johnson: a s Cynthia Shell: uh thing. Brenda Johnson: Yeah, it's this one. Now, uh button supplement. Special colour. We already Uh, that's the from the for the buttons. The buttons are regular colour. Deborah Smith: Mm, yeah. Brenda Johnson: So, then uh then then then then then then Then Cynthia Shell: We're not gonna make it. Brenda Johnson: Uh, no. It's too expensive. Cynthia Shell: Yeah. Wh Brenda Johnson: So, we Cynthia Shell: What Brenda Johnson: have to change Cynthia Shell: what Brenda Johnson: something. Cynthia Shell: are the costs? Brenda Johnson: Fifteen Euros. Cynthia Shell: Fifteen. Brenda Johnson: Yeah, well uh when we lose one scroll-wheel, it's okay. 'Cause we can't lose the battery. We can't lose the advanced chip. We can't lose the double curve. We have rubber, Barbara Hermanson: We would have Brenda Johnson: special Barbara Hermanson: uh Brenda Johnson: colour. Barbara Hermanson: n Cynthia Shell: A special colour. Uh, Brenda Johnson: Oh, Cynthia Shell: I don't Brenda Johnson: no, Cynthia Shell: think Brenda Johnson: we Cynthia Shell: it's a very Brenda Johnson: No, it's Cynthia Shell: special Brenda Johnson: uh Cynthia Shell: colour. Brenda Johnson: Sorry? Cynthia Shell: Yellow? Uh, is it a special colour? Barbara Hermanson: For a remote control. I've Cynthia Shell: What? Barbara Hermanson: For a remote control, I think it is. Cynthia Shell: Yeah. Barbara Hermanson: If we would have uh uh normal buttons instead of uh the joystick. For up Brenda Johnson: Um, Barbara Hermanson: down left right. Brenda Johnson: then we uh lose two Euros. Then we have thirteen Euros. Half a Euro too much. Exactly the special colours. Cynthia Shell: And Brenda Johnson: So Cynthia Shell: what if we use only one sort of um Um just only plastic or only rubber? Brenda Johnson: That's one Euro. Cynthia Shell: One Euro discount. Brenda Johnson: So, I don't think that's good. Mm Brenda Johnson: I think we have to keep the L_C_D_. If Cynthia Shell: If we change the joyst uh the joystick thing into a button up, button down, button right, button left. Brenda Johnson: Yes. Then it's only thirteen Euros. Cynthia Shell: And then we'll lose fifty cent in what? Brenda Johnson: So uh yeah. Yeah. Then you have Or Cynthia Shell: Uh Brenda Johnson: you have to cut this Cynthia Shell: uh-uh. Brenda Johnson: off. Then it's not good anymore. Cynthia Shell: No. Brenda Johnson: So, wait. Okay. I'll have a look. We Cynthia Shell: And if you say it's just a r uh normal colour it's a normal colour, wh No one Brenda Johnson: Yellow Cynthia Shell: will see it. Brenda Johnson: rubber. Yeah, normal. Cynthia Shell: Normal colour, and the the joystick away, and put the button up, button down, right, left. Brenda Johnson: Uh Cynthia Shell: And it's twelve Euros, I think. Brenda Johnson: One minute, please. Uh Is it maximum. Um Brenda Johnson: Yeah, it's normal colour. Brenda Johnson: still uh an advanced chip? Cynthia Shell: No. Uh, Brenda Johnson: Or Cynthia Shell: no, Brenda Johnson: it's then Cynthia Shell: no, Brenda Johnson: a Cynthia Shell: no. Brenda Johnson: regular? Cynthia Shell: Uh Oh, wait wait wait. Barbara Hermanson: The advanced chip was for the L_C_D_ wasn't it? Deborah Smith: Yeah. Cynthia Shell: Oh yeah. Brenda Johnson: So, the advanced Cynthia Shell: Oh Brenda Johnson: is for Cynthia Shell: yeah. Brenda Johnson: the L_C_D_ and the regular for the Cynthia Shell: Yeah. Brenda Johnson: joystick. Cynthia Shell: Yeah, yeah. Brenda Johnson: And what if we lose the L_C_D_? Cynthia Shell: If we lose the L_C_D_, then we have an uh Brenda Johnson: Yeah, regular chip. Cynthia Shell: regular chip and Brenda Johnson: But Cynthia Shell: no L_C_D_. Brenda Johnson: Is it a good design? Cynthia Shell: Uh, yeah. Then you'll have to m uh see the menu on the television. And you don't have the L_C_D_. Barbara Hermanson: If uh Cynthia Shell: So, the T_V_s has to uh have to be up-to-date. Barbara Hermanson: If we have the n no buttons If we have we have uh not a joystick but buttons, we would have uh, we have thirteen Euros? Cynthia Shell: Yeah. Brenda Johnson: Mm, yes. Barbara Hermanson: And then uh we move the the colour. What Cynthia Shell: Yeah. Barbara Hermanson: will that be? Brenda Johnson: Then it's okay. Cynthia Shell: Huh. No knew that. Barbara Hermanson: Yeah. Brenda Johnson: Okay, so no joystick. Oh no, but we then we get push-buttons from half a Euro. Cynthia Shell: Yeah, then it's twelve Euro fifty, then it's okay. Brenda Johnson: Uh, yes, yes, yes, yes. No joystick. Push-buttons. No special colour. Twelve and a half Euros. Then it's okay. So, we have to change that a little bit. And you cannot use the red and green button. Because if you Deborah Smith: Okay. All the same Brenda Johnson: give them Deborah Smith: uh Brenda Johnson: a s uh colour, you have to pay point two Euros. Cynthia Shell: So, all the buttons has to have to be the same colour. Brenda Johnson: Yes. Cynthia Shell: But then the print on it will g um change it. Make it uh for everybody to see what button it is. Uh l How Deborah Smith: Mm, yeah. Cynthia Shell: you call it? Deborah Smith: Recognisable. Cynthia Shell: Recognisable, Deborah Smith: Like Cynthia Shell: yeah. Deborah Smith: what Brenda Johnson: Yes. Deborah Smith: Yeah. Mm, yeah. Brenda Johnson: So Cynthia Shell: Yeah? Deborah Smith: Okay. Cynthia Shell: Okay. Brenda Johnson: So Well Now we have to change that, but that's okay. Rubber. What's the normal colour? Cynthia Shell: Oh, well that's clear. Brenda Johnson: So And Brenda Johnson: Where's? Yeah. Brenda Johnson: So, now Cynthia Shell: And Brenda Johnson: it's Cynthia Shell: the joystick away. And its buttons. Brenda Johnson: Yeah. It is. But then it will be just that ones. Cynthia Shell: Yeah. Brenda Johnson: Now it's Barbara Hermanson: still, he waited at the Brenda Johnson: Very good. Barbara Hermanson: No. Brenda Johnson: Now, uh project eva evaluation. Well What do you think of it? Uh Cynthia Shell: About the Barbara Hermanson: Project. Brenda Johnson: About the project. Cynthia Shell: process. Went good. Uh I think uh the creativity uh was good enough. We have a gun instead of a remote control. Um Uh leadership. Yeah, you were the project project manager, and uh had the final vote. So yeah that was clear. Team-work okay. Everybody uh has something uh to say about it. And uh no, uh o only the the drawing uh was very difficult. But, nah. New ideas found. Nope. Brenda Johnson: Okay. And you. Deborah Smith: Yeah, well the same. I I espe I especially uh liked the the means, the the SMARTboard and uh Yeah, it uh It brings up new ideas when you work with uh with it. Brenda Johnson: Okay. Deborah Smith: Yeah. Barbara Hermanson: Yeah, I think you have to compare it to if you would have a normal um normal project without laptops uh and without these devices. I think um Well, the laptops if you have them out front of you, you sometimes looking at that instead of the presentation. Um, well uh the draw-board, well you can draw things. But it not really going very convenient. Deborah Smith: Mm-hmm. Barbara Hermanson: Uh, maybe it will be easier if you have a smaller monitor and uh you would also see there. And with a normal mouse. Um, and uh the project. Yeah, I agree on what was said uh mainly. Uh, yeah but you always have that some people are talking more than others. And maybe is then um the task of the Brenda Johnson to also uh ask more to the people uh less talking. To tell their opinion. Brenda Johnson: Okay. Well, what do I have to say. I think it was good. Not too many discussions. Cynthia Shell: No. Brenda Johnson: So, Deborah Smith: No. Brenda Johnson: it's good for the speed. Cynthia Shell: Yep. Brenda Johnson: So, Barbara Hermanson: Yeah. Brenda Johnson: I think we're ready. Good price. Evaluation ready. Ready. Cynthia Shell: Beer. Brenda Johnson: That's it. Cynthia Shell: Yeah? Barbara Hermanson: Okay. Cynthia Shell: Okay then.

Cynthia Shell and user interface designer presented their prototype design, made of yellow rubber and hard plastic, with large, mostly blue buttons, a joystick and LCD screen. Led by Barbara Hermanson, the group evaluated the prototype on a scale of one to seven, based on a set of evaluation criteria. The overall rating was two. Brenda Johnson calculated the production costs, which were too high at fifteen Euros. The group discussed how to make the design cheaper, and decided to keep the LCD screen, but to remove the special colour and replace the joystick with regular push-buttons. Finally Brenda Johnson led an evaluation of the project process before closing the meeting. Overall, the group were satisfied with the creativity, teamwork and available equipment, although Barbara Hermanson thought the SMARTboard and laptops were sometimes distracting and not that helpful.

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Laura Fletcher: Welcome back. Myra Armijo: Hello. Leigh Watkins: Hello. Laura Fletcher: Uh let Leigh Watkins see. Myra Armijo: There's one of mine. Laura Fletcher: Okay Roo. welcome back. Myra Armijo: Hello, Flores. Laura Fletcher: The waiting is for Sebastian. There he is. Myra Armijo: We Patricia Lee: Is Myra Armijo: have Patricia Lee: there Myra Armijo: a slight Patricia Lee: any time Myra Armijo: problem. Patricia Lee: for a cup of coffee? Myra Armijo: I opened uh the Laura Fletcher: Sorry? Myra Armijo: C_D_ ROM box Patricia Lee: Can I get Myra Armijo: uh Patricia Lee: a Myra Armijo: guys. Patricia Lee: cup of coffee? Laura Fletcher: Uh no. Patricia Lee: Okay. Laura Fletcher: You can't, sorry. Myra Armijo: So just cancel it. Patricia Lee: Well, during my work I have no time either. So Laura Fletcher: Well, this is life. Sorry uh, Roo. Myra Armijo: Yeah, I opened the C_D_ ROM box. Laura Fletcher: Okay. Myra Armijo: Accidentally. Laura Fletcher: Okay. Myra Armijo: But it's alright. Laura Fletcher: 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. Myra Armijo: Mm-hmm. Laura Fletcher: Um then um the three of you uh prepared a presentation, I think? Sebastian? Patricia Lee: I think so too. Laura Fletcher: Roo? Myra Armijo: Yeah. Laura Fletcher: Ruud? Leigh Watkins: Almost. Laura Fletcher: Almost, okay. Then we'll do your one uh uh as la uh the last. Um the top Myra Armijo: But you can't Laura Fletcher: goal of Myra Armijo: upload Laura Fletcher: this m Myra Armijo: your presentation from here, I believe. Laura Fletcher: Um we will figure that out. Myra Armijo: Okay. Laura Fletcher: Ca Leigh Watkins: Uh Laura Fletcher: can Leigh Watkins: if Laura Fletcher: you try Leigh Watkins: it Laura Fletcher: to Leigh Watkins: if it wireless I could just uh Laura Fletcher: Yeah, Leigh Watkins: it in the. Laura Fletcher: w we will see. Myra Armijo: I don't think it's wireless Laura Fletcher: Um Myra Armijo: here. Patricia Lee: It is. Myra Armijo: Or it is. Laura Fletcher: it Patricia Lee: It Laura Fletcher: is, Patricia Lee: is. Myra Armijo: Yeah? Laura Fletcher: yeah. Myra Armijo: Okay, Leigh Watkins: Uh okay. Myra Armijo: great. Laura Fletcher: 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 Myra Armijo: Yeah. Laura Fletcher: w uh uh we we cannot make it because of the time to market um that we have to deal Myra Armijo: Time, Laura Fletcher: with. Myra Armijo: yeah. Laura Fletcher: 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. Myra Armijo: Yes. Laura Fletcher: 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? Myra Armijo: Yeah, I'll start Laura Fletcher: Uh uh Patricia Lee: Yes. Laura Fletcher: yeah. Okay, great. Myra Armijo: 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 Laura Fletcher: Yeah. Myra Armijo: 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. Laura Fletcher: Mm-hmm. Myra Armijo: And the ease-of-use remote control with uh the less p possibilities but a great feeling in in touching the buttons. Laura Fletcher: Yeah. Myra Armijo: 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. Laura Fletcher: Uh-huh. Myra Armijo: 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. Laura Fletcher: Okay. Uh Ruud, did you get that? Leigh Watkins: Yeah, Myra Armijo: Yeah. Leigh Watkins: uh b uh most. Laura Fletcher: Okay, so the important thing here is Myra Armijo: And it's also Leigh Watkins: Oh, Myra Armijo: i Leigh Watkins: user-friendly. Myra Armijo: indeed uh uh Ruud's uh insight in the in the topic. Laura Fletcher: In the market, Myra Armijo: Yeah, Laura Fletcher: yeah. Myra Armijo: what what does the market want? I I don't know. Laura Fletcher: Yeah, okay, w we Myra Armijo: Just Laura Fletcher: will s Myra Armijo: for uh Laura Fletcher: we all Myra Armijo: for Laura Fletcher: uh Myra Armijo: user desi uh user uh friendliness I uh should choose for the the ease of use remote control. Laura Fletcher: Yeah. Okay. Sebastian. Patricia Lee: Okay. Patricia Lee: Excuse Leigh Watkins. Myra Armijo: Scusi. Patricia Lee: 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 Myra Armijo: Energies Patricia Lee: hardly readable. Myra Armijo: and uh Patricia Lee: Can you see it? Laura Fletcher: No, it's Patricia Lee: No? Laura Fletcher: not visible. Patricia Lee: 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 Myra Armijo: Yeah. Patricia Lee: 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 Myra Armijo: The glow Patricia Lee: what Myra Armijo: in Patricia Lee: we Myra Armijo: the dark Patricia Lee: w Myra Armijo: uh concept Patricia Lee: yes. Myra Armijo: uh Patricia Lee: In the and it's Myra Armijo: we discussed. Patricia Lee: a little more a little bit more fancy also. So maybe we should Laura Fletcher: Yeah. Patricia Lee: consider that. Laura Fletcher: Okay. Patricia Lee: 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 Laura Fletcher: So it's Patricia Lee: more Laura Fletcher: fairly Patricia Lee: to it. Laura Fletcher: easy. Patricia Lee: It's fairly easy. It's been done many times before, and Laura Fletcher: Okay. Patricia Lee: I think we should uh Myra Armijo: Succeed Patricia Lee: we should Myra Armijo: in it Patricia Lee: c s Myra Armijo: also. Patricia Lee: succeed in in our plan to do this. Laura Fletcher: Okay, Patricia Lee: So Laura Fletcher: good. Patricia Lee: 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. Laura Fletcher: Okay. Patricia Lee: 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. Laura Fletcher: Okay. Patricia Lee: 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. Myra Armijo: And what's the um if we use the LEDs, i does it use much more energy or Patricia Lee: No, they're p f uh power friendly LEDs also. Myra Armijo: Okay. Patricia Lee: So we can use them. So that's no problem. Myra Armijo: For the same costs, Patricia Lee: Uh Myra Armijo: it's can Patricia Lee: no, Myra Armijo: be Patricia Lee: they're Myra Armijo: uh in Patricia Lee: uh Myra Armijo: our Patricia Lee: they're a little bit more expensive, but by uh um um Myra Armijo: Combined Patricia Lee: making Myra Armijo: with the low-cost circuit board so it's Patricia Lee: We can Myra Armijo: uh Patricia Lee: we can make its I think. Leigh Watkins: Well you could only lit uh the buttons the buttons that are used most. So, the channel switching. Myra Armijo: Yeah. Laura Fletcher: Yeah. Leigh Watkins: Or Laura Fletcher: Yeah, but Patricia Lee: Okay. Laura Fletcher: but the question is whether um two or four buttons makes uh m makes Myra Armijo: But I Laura Fletcher: such Myra Armijo: think Laura Fletcher: a difference in the costs if you already plan to uh include fancy lightning techniques, Patricia Lee: Hmm. Laura Fletcher: I guess. Leigh Watkins: Hmm, Myra Armijo: Yeah, I Leigh Watkins: true. Myra Armijo: think it's the same as in the cell phone, just light in in the device that that shines on all the buttons, and Patricia Lee: Yes. Myra Armijo: not for Patricia Lee: Well, it's not one light, it there are more lights in a in a in a Myra Armijo: Yeah, but Patricia Lee: mobile Myra Armijo: not for Patricia Lee: device. Myra Armijo: each button Patricia Lee: No Myra Armijo: one Patricia Lee: no no, Myra Armijo: LED, I think. Patricia Lee: no. That's right, that's right. Laura Fletcher: Okay. Patricia Lee: So well, this uh should be it. Laura Fletcher: Okay. Patricia Lee: Um have a think about it. Laura Fletcher: Yeah. Okay, Leigh Watkins: Oh, Laura Fletcher: Ruud. Leigh Watkins: mine is already outdated. Laura Fletcher: Okay well, we ar we Leigh Watkins: Since Laura Fletcher: are Leigh Watkins: uh Laura Fletcher: very curio curious to what the market um will feel about such a product. So any income is welcome. Input. Leigh Watkins: Okay, make Well Uh then I'm sure the target market is uh ten million units. Myra Armijo: Could Laura Fletcher: Okay. Myra Armijo: you step a little bit more to the right? Yeah, Leigh Watkins: But um Myra Armijo: thank you. Leigh Watkins: 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. Laura Fletcher: Yeah. Leigh Watkins: 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. Patricia Lee: Mm. Leigh Watkins: So we might want to build in a feature to uh support them. Some uh audio signal. Like Laura Fletcher: Okay. Leigh Watkins: uh home phones. Or Laura Fletcher: Well, that's Patricia Lee: Or Laura Fletcher: interesting. Patricia Lee: a find a finding Myra Armijo: Yeah. Patricia Lee: function, Laura Fletcher: Yeah, Patricia Lee: you know. That's Laura Fletcher: that's Patricia Lee: quite Laura Fletcher: definitely Patricia Lee: a Laura Fletcher: interesting. Patricia Lee: yes. Laura Fletcher: It uh Myra Armijo: Sound Laura Fletcher: it separates Myra Armijo: signal. Laura Fletcher: our product from others uh Leigh Watkins: Yeah. Laura Fletcher: as well. Myra Armijo: Yeah. Laura Fletcher: Okay, Patricia Lee: Yes. Laura Fletcher: go on. Leigh Watkins: Well, I just said that. And uh well, this obvious, and he also said it. Laura Fletcher: Okay. So that's what the market tells us. Leigh Watkins: Uh that's about it, Laura Fletcher: Yep. Leigh Watkins: yes. Laura Fletcher: Okay. Myra Armijo: The volume and uh the zap buttons are the mostly used. Leigh Watkins: Uh mo uh zap Myra Armijo: So Leigh Watkins: buttons most. Volume, they are uh use a lot. But Myra Armijo: Yeah, Leigh Watkins: more than Myra Armijo: well Leigh Watkins: all Myra Armijo: it Leigh Watkins: the Myra Armijo: should Leigh Watkins: other buttons. Myra Armijo: just Leigh Watkins: So Myra Armijo: have a design The perfect design for those only those buttons. Patricia Lee: Yes. Myra Armijo: And first um Patricia Lee: Yes, we should focus on that, I guess. Myra Armijo: Yeah. Laura Fletcher: Yep. Patricia Lee: 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 Myra Armijo: Yeah, Patricia Lee: uh Myra Armijo: the sound signal. Patricia Lee: and a sound Myra Armijo: Just one Patricia Lee: signal. Myra Armijo: thing I'm just wondering, the sound signal, from where do you Leigh Watkins: Yeah, that's Myra Armijo: execute Patricia Lee: Well Leigh Watkins: uh Myra Armijo: th the s sound? Patricia Lee: Yes. Th Leigh Watkins: a problem. Patricia Lee: that's Myra Armijo: Another Patricia Lee: a bit of Myra Armijo: device Leigh Watkins: Yeah. Myra Armijo: is not a Patricia Lee: that's Myra Armijo: solution. Patricia Lee: a problem. Laura Fletcher: Well maybe Patricia Lee: Usually Myra Armijo: It should be Laura Fletcher: maybe Myra Armijo: uh uh Laura Fletcher: like clapping in your hands, like um Patricia Lee: Oh Laura Fletcher: turning Patricia Lee: yes. Laura Fletcher: on and off the the the Myra Armijo: Yeah, Laura Fletcher: lights. Myra Armijo: but maybe Patricia Lee: Yes. Myra Armijo: you'll uh get Patricia Lee: Well, Myra Armijo: some Patricia Lee: there Myra Armijo: new Patricia Lee: there Myra Armijo: technologies Patricia Lee: are some devices Myra Armijo: for it. Patricia Lee: 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 Laura Fletcher: Reports Patricia Lee: to beep. Laura Fletcher: rep Patricia Lee: And Laura Fletcher: respend Patricia Lee: um Laura Fletcher: response Myra Armijo: Yeah, just Laura Fletcher: to it. Myra Armijo: like uh Patricia Lee: Yes. Yes, that's it. Myra Armijo: the phones the Patricia Lee: Yes, Leigh Watkins: Yeah. Patricia Lee: same thing. Laura Fletcher: But Myra Armijo: But but Laura Fletcher: uh Myra Armijo: T_V_s Laura Fletcher: th Myra Armijo: don't have all uh Patricia Lee: No, so we Myra Armijo: uh buttons. Patricia Lee: we Leigh Watkins: And Patricia Lee: should Leigh Watkins: you Patricia Lee: use Myra Armijo: Uh Patricia Lee: something else. Leigh Watkins: Yeah, Laura Fletcher: Yeah, Leigh Watkins: and usually Laura Fletcher: because Myra Armijo: But I believe Laura Fletcher: we do not Myra Armijo: you will Laura Fletcher: have a Myra Armijo: have Laura Fletcher: a Myra Armijo: an Laura Fletcher: a a a home um Patricia Lee: We do not control the T_V_ set so Leigh Watkins: And Patricia Lee: well. Leigh Watkins: even if the T_V_ set would have such a button, uh you would have to walk Patricia Lee: Yes, Leigh Watkins: to your T_V_, Patricia Lee: m yes. S Leigh Watkins: and it's Patricia Lee: so it's is easy as possible for our customers, Laura Fletcher: Okay. Patricia Lee: so Laura Fletcher: So Patricia Lee: we should Laura Fletcher: what Patricia Lee: think Laura Fletcher: about the Patricia Lee: about Laura Fletcher: clapping technique? Um because Myra Armijo: I'm Laura Fletcher: you se Myra Armijo: convinced uh Sebastian will uh find Patricia Lee: It's quite Myra Armijo: uh one Patricia Lee: complicated. Myra Armijo: solution for Patricia Lee: Well, Myra Armijo: us. Patricia Lee: it's quite complicated. Because how can you separate the clapping sound from other sounds. Leigh Watkins: And Laura Fletcher: Well, you Leigh Watkins: b Laura Fletcher: see it a lot in in light uh lightning Patricia Lee: Yes, yes. Laura Fletcher: uh uh Patricia Lee: Well, basically the characteristics uh the characteristics of clapping is just an increase in the volume, Laura Fletcher: Yeah, a Patricia Lee: the amplitude Laura Fletcher: peak. Yeah. Patricia Lee: of the sound, which is uh generated a few times within a uh certain period of time. Laura Fletcher: Yeah. Patricia Lee: But there are many other sounds uh which are exactly the same from Leigh Watkins: So Patricia Lee: the Leigh Watkins: if Patricia Lee: point of Leigh Watkins: if Patricia Lee: view Leigh Watkins: you'd Patricia Lee: from Leigh Watkins: be Patricia Lee: a remote Leigh Watkins: watching Patricia Lee: control. Leigh Watkins: a movie, it would constantly beep. Laura Fletcher: Yeah, Patricia Lee: Yes, Laura Fletcher: that's true. Patricia Lee: so we don't Myra Armijo: But we Patricia Lee: want Myra Armijo: can Patricia Lee: that. Myra Armijo: have just uh uh Patricia Lee: Maybe we Myra Armijo: a Patricia Lee: can Myra Armijo: home stat uh f a base station next to the T_V_. Just a little antenna or uh something. Patricia Lee: Something like that. Myra Armijo: Well Patricia Lee: Well, Myra Armijo: if you lost Patricia Lee: is there Laura Fletcher: Well Patricia Lee: not Laura Fletcher: uh Myra Armijo: th Patricia Lee: something f Myra Armijo: I Patricia Lee: something Myra Armijo: don't think Patricia Lee: more Myra Armijo: people Patricia Lee: easily Myra Armijo: would bother walking to the T_V_ and press that button Patricia Lee: Well, I don't think uh. Myra Armijo: because they lost the their remote. Uh that's Patricia Lee: No, and Myra Armijo: just Patricia Lee: y Myra Armijo: uh Patricia Lee: the the most important thing for people is that there's a central point to which they can go Laura Fletcher: Yeah. Patricia Lee: 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. Myra Armijo: just a base station next to the T_V_ Patricia Lee: Yes, Myra Armijo: is Patricia Lee: something like that. Myra Armijo: the best Patricia Lee: But that will be very Myra Armijo: possibility. Patricia Lee: costly, I think. So Laura Fletcher: Yeah, m Patricia Lee: that's Leigh Watkins: Yeah. Laura Fletcher: maybe Patricia Lee: not a good idea. Laura Fletcher: 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. Patricia Lee: Mm-hmm. Laura Fletcher: Um maybe Sebastian should have uh a detailed look later Patricia Lee: I will. Laura Fletcher: on and um come up with a solution, Myra Armijo: Yeah. Patricia Lee: Yes. Laura Fletcher: because that's his his field of expertise. Patricia Lee: 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 Laura Fletcher: Mm-hmm. Patricia Lee: um and it will become more costly also. Laura Fletcher: Yep. Patricia Lee: Because there will be additional components which which uh will be used. And there are some Myra Armijo: And Patricia Lee: implepe Myra Armijo: do we even Patricia Lee: imp Myra Armijo: uh prefer the sound above the the LEDs, the lightning Patricia Lee: Well, Myra Armijo: uh Patricia Lee: I I think Myra Armijo: function? Patricia Lee: so, because um when you have a p newspaper Myra Armijo: It's Patricia Lee: over Myra Armijo: a unique Patricia Lee: your remote control, Myra Armijo: item uh Patricia Lee: you cannot see it. So Laura Fletcher: Yeah, it's a distinction Myra Armijo: It will be an Laura Fletcher: in Myra Armijo: a Laura Fletcher: the market. Myra Armijo: unique feature Laura Fletcher: It's a different Myra Armijo: of Leigh Watkins: Yeah. Myra Armijo: our Laura Fletcher: exactly. Myra Armijo: remote control. Laura Fletcher: It's an uni an unique feature, Myra Armijo: Yeah. Laura Fletcher: and um I think um it's worth um uh looking and and probably more i interesting than uh than the lights. Myra Armijo: And just about uh the user interface, I came up with um an easy remote control and an advanced remote control. Laura Fletcher: Yeah. Myra Armijo: What should we choose in in design? Laura Fletcher: Yeah. Well, um according to Ruud, um people do not use um Myra Armijo: Well, the extra functions. Laura Fletcher: all the extra features very very often. So Leigh Watkins: I have the numbers r I have the numbers right here. Laura Fletcher: Okay. Leigh Watkins: Well, t uh we won't support teletext which which was the third-most Myra Armijo: Used Leigh Watkins: the second-most Myra Armijo: option. Leigh Watkins: used function. Laura Fletcher: Okay. Well, Patricia Lee: Okay. Laura Fletcher: we we do have a wise board, so I'm not questioning that. Leigh Watkins: Uh well yeah, channel selection is obviously the most important. Laura Fletcher: Yeah. Okay, so on Leigh Watkins: So Laura Fletcher: the relevance scale uh the channel selection, the volume selection and the teletext. Leigh Watkins: Yeah. Laura Fletcher: Well, we skip Leigh Watkins: Yeah. Laura Fletcher: that. Leigh Watkins: So Myra Armijo: Well, Laura Fletcher: Okay. Myra Armijo: so it just th the basic functions. And we don't have to use it for D_V_D_ players uh and all kind Patricia Lee: No, Myra Armijo: of stuff. Laura Fletcher: No. Myra Armijo: So Patricia Lee: no. Leigh Watkins: Nope. Patricia Lee: So that's out of the question. Myra Armijo: Yeah. Laura Fletcher: Yeah. Patricia Lee: So Myra Armijo: Just through uh the easy uh design. Laura Fletcher: go Myra Armijo: We Laura Fletcher: for Myra Armijo: can Laura Fletcher: the Myra Armijo: make Laura Fletcher: easier Myra Armijo: uh Laura Fletcher: one. Myra Armijo: a nice design Patricia Lee: I Myra Armijo: when Patricia Lee: think also. Myra Armijo: when there's not mu uh much Patricia Lee: Yes. Myra Armijo: buttons in it. So Patricia Lee: Well, we Laura Fletcher: No. Patricia Lee: 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 Laura Fletcher: Yeah. Patricia Lee: uh thinking about the user interface and Laura Fletcher: Okay, Ruud, how do you feel about that? Uh do you agree, do you think the market would would respond to uh a simple Leigh Watkins: Uh well if we um include other uh innovative functions Laura Fletcher: Mm-hmm. Leigh Watkins: uh then they uh might, 'cause young people uh like new features. Laura Fletcher: Mm Leigh Watkins: So Laura Fletcher: yeah. Patricia Lee: Yeah, that's right. Laura Fletcher: Okay, Patricia Lee: Mm. Laura Fletcher: so this is is kind of uh Myra Armijo: Uh just a few buttons, trendy design, nice lightning effects Patricia Lee: Okay. Myra Armijo: wh and Patricia Lee: Well, Myra Armijo: the Patricia Lee: is Myra Armijo: sound. Patricia Lee: 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. Laura Fletcher: Yeah. Patricia Lee: Maybe it's more important to make the make it look like a very uh friendly, easy to catch piece of equipment, but um Laura Fletcher: But but Patricia Lee: nevertheless Laura Fletcher: are we not in in the in the manual uh I mean if you have few buttons, no Patricia Lee: Mm-hmm. Laura Fletcher: display, Patricia Lee: Mm-hmm. Laura Fletcher: um I mean uh I guess it's l it's working with with a shift functions and um one button can Patricia Lee: Ok Laura Fletcher: uh Patricia Lee: 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. Myra Armijo: Yeah, Laura Fletcher: But Myra Armijo: I don't Laura Fletcher: but how Myra Armijo: know Laura Fletcher: does Myra Armijo: yet. Laura Fletcher: 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 Patricia Lee: Mm-hmm. Laura Fletcher: uh a Patricia Lee: There's Laura Fletcher: user Patricia Lee: no, Laura Fletcher: history. Patricia Lee: but there's no way to do that, because we cannot implement that kind of the system. Laura Fletcher: I know, Patricia Lee: W Laura Fletcher: but but if we use uh like a stick, for example, Patricia Lee: Mm-hmm. Laura Fletcher: um Patricia Lee: 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. Leigh Watkins: And if you use that stick for volume control and channel uh selection, you have the m two most important functions Laura Fletcher: Yeah. Patricia Lee: Yes. Laura Fletcher: Uh Leigh Watkins: in one uh Laura Fletcher: and Leigh Watkins: button. Laura Fletcher: we could Myra Armijo: But Laura Fletcher: have Myra Armijo: does Laura Fletcher: other Myra Armijo: it Laura Fletcher: buttons Myra Armijo: uh Laura Fletcher: for Myra Armijo: I Laura Fletcher: the Myra Armijo: then Laura Fletcher: for the Myra Armijo: should Laura Fletcher: advanced Myra Armijo: n just Laura Fletcher: uh Myra Armijo: use Laura Fletcher: functions. Myra Armijo: uh i instead of the stick, uh like many cell phones, just a round m well, should we Laura Fletcher: Yeah, Myra Armijo: just Laura Fletcher: draw Myra Armijo: use Laura Fletcher: draw it Myra Armijo: a Laura Fletcher: on the board. Myra Armijo: oh, we have a blank. Oh. Patricia Lee: Oh yeah, something like that. It's Myra Armijo: It's Patricia Lee: not Myra Armijo: just Patricia Lee: really a Myra Armijo: an Patricia Lee: stick, Myra Armijo: easy Patricia Lee: but Myra Armijo: uh way of of a round button what which can be pushed in Patricia Lee: Yes. Myra Armijo: four directions. Patricia Lee: Yes. Myra Armijo: Instead of a stick. A stick is v vulnerab vulnerable Patricia Lee: Hmm. Laura Fletcher: Yeah, Myra Armijo: when Laura Fletcher: it Myra Armijo: it's Laura Fletcher: can Myra Armijo: falling Laura Fletcher: break down. Myra Armijo: down or uh Patricia Lee: Yes, Leigh Watkins: Yeah. Patricia Lee: yes. Myra Armijo: just a round uh button Patricia Lee: And Myra Armijo: should be the trick, I think. Patricia Lee: Yes, and this also looks more fancy, I think. I think Myra Armijo: Yeah. Patricia Lee: it it will attract uh more Leigh Watkins: A Patricia Lee: uh uh Leigh Watkins: younger Patricia Lee: public, Leigh Watkins: uh Patricia Lee: I think. Leigh Watkins: Huh. Patricia Lee: But you're the marketing man. Leigh Watkins: 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. Myra Armijo: Geez. Well, volume and something uh like that. Laura Fletcher: Uh-huh. Myra Armijo: The programme up and down. Laura Fletcher: Okay, yeah. Myra Armijo: And the vol yeah, the pen doesn't uh really does what I want. Patricia Lee: Okay, that's good. Laura Fletcher: 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 Patricia Lee: Mm-hmm. Laura Fletcher: uh the advanced techniques and and the user-friendliness. Myra Armijo: 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, Laura Fletcher: Um well, Myra Armijo: I think. Laura Fletcher: for we do have to uh decide this this meeting. Myra Armijo: Yes? Laura Fletcher: Yeah. We need to um have the uh the user function uh the functions Myra Armijo: Mm-hmm. Laura Fletcher: decided and um Patricia Lee: Okay. Laura Fletcher: uh our target audience. Myra Armijo: 'Kay, Patricia Lee: Okay. Myra Armijo: but teletext is so uh is just Patricia Lee: Do Myra Armijo: scrapped. Patricia Lee: do you want a list of functions? Do you want an explicit list? Uh which uh incorporates all function available on the device? Laura Fletcher: 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 Patricia Lee: Okay. Laura Fletcher: example Patricia Lee: Okay. Laura Fletcher: uh th the most important are volume and uh programme selecting. Patricia Lee: Mm-hmm. Myra Armijo: The ten digits. Laura Fletcher: Well, for example, that that's what we should think about. l how is the remote going to look? Myra Armijo: Oh, Laura Fletcher: Not not in the user Myra Armijo: and just Laura Fletcher: interface, Myra Armijo: one function. Laura Fletcher: but Myra Armijo: The the the the programme to programme button, the switch to uh two channels, Patricia Lee: Mm-hmm. Myra Armijo: when you have uh something on channel Patricia Lee: Yes. Myra Armijo: four and something on channel six, Laura Fletcher: Yeah. Myra Armijo: just one button which which can uh Laura Fletcher: A Patricia Lee: Change. Laura Fletcher: bit of a split Myra Armijo: change Laura Fletcher: mode. Uh l like Myra Armijo: yeah. Patricia Lee: Yes, yes. Laura Fletcher: Yeah. Dual channel watch. Patricia Lee: Yes. Myra Armijo: Yeah. Laura Fletcher: Okay, well um m maybe I should write that down. Patricia Lee: Well you're the secretary. Laura Fletcher: Uh Ruud, um what's your last name? Leigh Watkins: Mielsen. Laura Fletcher: 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 Patricia Lee: Mm Laura Fletcher: it. Patricia Lee: okay, Myra Armijo: Alright. Patricia Lee: but Laura Fletcher: Um Patricia Lee: make a s make a sub-folder for it, because it's starting to fill up already. Laura Fletcher: Yeah, that's Leigh Watkins: Yeah. Laura Fletcher: that's if you want to do it, Sebastian. Patricia Lee: Sure. Myra Armijo: Our B_S_C_ uh W_ uh Laura Fletcher: Okay, um Okay, so so um uh Volume. Programme. Uh dual channel. Uh Patricia Lee: Yes, that's important. Laura Fletcher: And and do we want um Myra Armijo: The Laura Fletcher: the Myra Armijo: ten Laura Fletcher: ten Myra Armijo: digits? Laura Fletcher: digits? Myra Armijo: Yeah, Patricia Lee: Well, Myra Armijo: I believe so. Patricia Lee: are are you sure? Leigh Watkins: Well, if you want to go Patricia Lee: I'm Leigh Watkins: to Patricia Lee: not so Leigh Watkins: channel Patricia Lee: sure. Leigh Watkins: ninety and you have th that button. Myra Armijo: Yeah. Patricia Lee: Well, that's complicated, Laura Fletcher: Yeah. Patricia Lee: but is that so relevant? Because I don't think but you should uh shou Myra Armijo: I wouldn't Patricia Lee: you should know Myra Armijo: buy Patricia Lee: that. Myra Armijo: it personally. Patricia Lee: If it Myra Armijo: A remote Patricia Lee: were so. Myra Armijo: control without the ten digits. Patricia Lee: Okay, I can Myra Armijo: Uh Patricia Lee: imagine Myra Armijo: and I think Patricia Lee: when Myra Armijo: the Laura Fletcher: I Myra Armijo: most Laura Fletcher: agree actually. Patricia Lee: I can Myra Armijo: Just Patricia Lee: imagine Myra Armijo: elder Patricia Lee: when Myra Armijo: elder Patricia Lee: you're when Myra Armijo: people Patricia Lee: you Leigh Watkins: Well Patricia Lee: have a Myra Armijo: would Patricia Lee: satellite Myra Armijo: would buy Patricia Lee: decoder Myra Armijo: it, but Patricia Lee: 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. Laura Fletcher: But Patricia Lee: That's enough. Laura Fletcher: we do Leigh Watkins: But Laura Fletcher: have Myra Armijo: Yep. Laura Fletcher: thirteen different Dutch channels. Leigh Watkins: Yeah, Myra Armijo: The older Leigh Watkins: and Patricia Lee: Well, Myra Armijo: people Leigh Watkins: if Patricia Lee: but Myra Armijo: only Patricia Lee: how Leigh Watkins: if Myra Armijo: use Leigh Watkins: we Patricia Lee: how Myra Armijo: five Patricia Lee: often Myra Armijo: of them. Patricia Lee: do you watch Leigh Watkins: And if Patricia Lee: all Leigh Watkins: we are Patricia Lee: these channels? Leigh Watkins: targeting Laura Fletcher: Often. Leigh Watkins: at the younger audience, they will probably watch more channels than the older people. So Patricia Lee: No, you're probably right. Myra Armijo: Yeah. Patricia Lee: Okay. But I think these uh ten uh buttons look a bit dull. Don't you think? Laura Fletcher: Well, it depends on the on the on the Patricia Lee: The Laura Fletcher: looks, Patricia Lee: design. Laura Fletcher: on the Myra Armijo: On Laura Fletcher: on Myra Armijo: the design. Laura Fletcher: the Patricia Lee: Okay. Well, y then there should be Leigh Watkins: Well Patricia Lee: should done be done Laura Fletcher: You Patricia Lee: something specific Laura Fletcher: c Leigh Watkins: And Patricia Lee: with Laura Fletcher: you Patricia Lee: it. Laura Fletcher: can d make them very fancy by um I mean Nokia, they have ten digits on their phones Patricia Lee: Mm-hmm. Laura Fletcher: and it still looks very fancy. Myra Armijo: Yeah. Laura Fletcher: So I'm I'm I do not agree Uh Patricia Lee: Okay, so you can experiment by uh with with shape or with size or with colour, that Laura Fletcher: Exactly, Patricia Lee: kind of thing. Laura Fletcher: exactly. Patricia Lee: Okay. Leigh Watkins: 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 Laura Fletcher: Okay, Leigh Watkins: for Laura Fletcher: speech. Patricia Lee: Well, maybe it can be combined with the find the remote control. Myra Armijo: Yeah. Patricia Lee: So um when you add uh speech recognition to your remote control, uh it's very easy to change uh the channel. Laura Fletcher: Yeah. Patricia Lee: That's one thing. And it's very easy uh Laura Fletcher: To Patricia Lee: to Laura Fletcher: find Patricia Lee: find your remote control. Laura Fletcher: yeah. Patricia Lee: So maybe that's a possibility, but I'm afraid it will be a bit costly. Leigh Watkins: Yeah. Patricia Lee: But Laura Fletcher: Uh Patricia Lee: maybe when we uh Laura Fletcher: If if we would um drop the ten digits Patricia Lee: Mm-hmm. Laura Fletcher: but keep the programme and the volume, because maybe Patricia Lee: Okay. Laura Fletcher: people do not always want to use their voice, Patricia Lee: Okay, okay. Laura Fletcher: um Leigh Watkins: Especially elder people uh don't like voice recognition. So then we should implement such a but Laura Fletcher: Yeah. But we do focus on younger people. We d Patricia Lee: Okay. Leigh Watkins: Yes. Laura Fletcher: it it's a board Patricia Lee: Well. Laura Fletcher: uh decision. Patricia Lee: I I think it should uh should work, it sh we should manage that. Myra Armijo: So we have to i Laura Fletcher: Okay. Myra Armijo: to make um a decision between the ten digits or the voice recognition. Patricia Lee: 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 Myra Armijo: Mm-hmm. Patricia Lee: function. So Laura Fletcher: Okay. Patricia Lee: that's that's a big advantage, I think. Laura Fletcher: Okay, g good. Laura Fletcher: Okay. Patricia Lee: 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. Laura Fletcher: Mm. Patricia Lee: But maybe can we we can think something smart about it. Laura Fletcher: Yep. Patricia Lee: There are some uh hybrid hybrid devices which incorporate a solar panel and rechargeable batteries. Laura Fletcher: Okay. Patricia Lee: So when you just Laura Fletcher: But Patricia Lee: leave the device in a in a light room, it charges itself. You have Laura Fletcher: But Patricia Lee: to do nothing Laura Fletcher: but can Patricia Lee: for Laura Fletcher: we Patricia Lee: it. Laura Fletcher: manage it Leigh Watkins: M Laura Fletcher: bu uh for the costs? Because it seems Myra Armijo: Twelve Laura Fletcher: like Myra Armijo: dollar Laura Fletcher: a very Myra Armijo: fifty. Leigh Watkins: And uh if Patricia Lee: Maybe, Leigh Watkins: we Patricia Lee: maybe not. Leigh Watkins: if Patricia Lee: I'll Leigh Watkins: we Patricia Lee: have to Leigh Watkins: could Patricia Lee: find that Leigh Watkins: inc Patricia Lee: out. Leigh Watkins: uh include a c a cradle in which it could recharge, Patricia Lee: Yes. Leigh Watkins: then Patricia Lee: So Leigh Watkins: there wouldn't be uh a big problem. Patricia Lee: No, that's Leigh Watkins: 'Cause Patricia Lee: very Leigh Watkins: when Patricia Lee: cheap. Laura Fletcher: Is Patricia Lee: It's Laura Fletcher: a cradle very cheap? Patricia Lee: Oh, it's very cheap. That's no problem. It's just a a case with two uh metal contacts. Laura Fletcher: I know, Patricia Lee: It's Laura Fletcher: b uh but there should be an adapter as well. Patricia Lee: Yes, but they're they're Leigh Watkins: Yeah. Patricia Lee: mass production. They're very cheap. So Laura Fletcher: Okay. Patricia Lee: it will cost us p practically nothing. Laura Fletcher: 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? Leigh Watkins: 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 Laura Fletcher: Okay. Leigh Watkins: uh buttons like that, which are easy to use, we uh might attract them too. So Laura Fletcher: Okay. Leigh Watkins: I don't think that's a big problem Patricia Lee: Yeah. Laura Fletcher: Okay, so although we are focussing on younger people uh to make it uh profitable uh Leigh Watkins: Yes. Patricia Lee: Profitable. Leigh Watkins: Yeah, profitable. Laura Fletcher: Profitable. We we yeah, we still need to take in account the the bit older people. Leigh Watkins: Yes. Laura Fletcher: Okay. O okay. Um Roo. Myra Armijo: I have nothing uh nothing to add, Laura Fletcher: Nothing to Myra Armijo: I think. Laura Fletcher: add. Sebastian? Patricia Lee: Um I just want to make a summary of all all things Laura Fletcher: Yeah? Patricia Lee: uh spoken and uh Laura Fletcher: Great. Patricia Lee: 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 Laura Fletcher: Mm-hmm. Patricia Lee: voice recognition, that these kinds of things. Laura Fletcher: Yeah. Patricia Lee: 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. Laura Fletcher: Yep. Patricia Lee: 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 Laura Fletcher: Yeah, and that was Patricia Lee: that's another Laura Fletcher: the main issue, right? The Patricia Lee: well, it Laura Fletcher: the Patricia Lee: wa Laura Fletcher: board Patricia Lee: it w it was an issue, but we also thought that we already thought we should do it as cheaply as possible. Laura Fletcher: Yeah. Patricia Lee: And this even uh makes it more cheapy. So Myra Armijo: But the cheaper the ch uh the the chip or th Patricia Lee: Mm-hmm. Myra Armijo: what was Laura Fletcher: The Myra Armijo: it? Laura Fletcher: board. Myra Armijo: The Patricia Lee: The Myra Armijo: circuit Patricia Lee: circuit Myra Armijo: board. Patricia Lee: board. Myra Armijo: The fewer buttons you can use Patricia Lee: The Laura Fletcher: No, Patricia Lee: fewer Myra Armijo: on Laura Fletcher: it's Myra Armijo: it. Laura Fletcher: th Patricia Lee: buttons you have, Laura Fletcher: yeah. Patricia Lee: the ch ch the cheaper Myra Armijo: Yeah, Patricia Lee: the circuit Myra Armijo: okay. Patricia Lee: board, Laura Fletcher: It's the other way around, Patricia Lee: yes. Laura Fletcher: yeah. Myra Armijo: Yeah. Patricia Lee: And it's very cheap uh to incorporate uh uh an integrated circuit, a chip. So that's that's another Laura Fletcher: It shouldn't be Patricia Lee: advantage. Laura Fletcher: a big issue. Myra Armijo: Well it then Patricia Lee: So Myra Armijo: we should just uh take a look at the costs and Patricia Lee: Yes, Myra Armijo: uh Patricia Lee: because I don't Myra Armijo: especially Patricia Lee: know Myra Armijo: for the voice recognition. Patricia Lee: Yes. I d I really don't know. So Myra Armijo: No. Patricia Lee: It Laura Fletcher: Okay. Patricia Lee: can be costly. Maybe not. Laura Fletcher: I'm not sure how how we'll f uh determine the costs, I will have a look at it. Maybe you will Patricia Lee: Yes. Laura Fletcher: get some information on that. Um Patricia Lee: Yes, Laura Fletcher: I'm Patricia Lee: I Laura Fletcher: not Patricia Lee: al Laura Fletcher: sure how how Patricia Lee: I Laura Fletcher: that Patricia Lee: I hope my personal coach will uh Laura Fletcher: Yep. Patricia Lee: have a lo uh look at it. Laura Fletcher: Okay, great. Um well, I Myra Armijo: We're Laura Fletcher: think Myra Armijo: done, Laura Fletcher: we're Myra Armijo: I think. Laura Fletcher: qui quite done. Um for now we will have the lunch break. Patricia Lee: How nice. Laura Fletcher: Um I'm don't know how long the break will be, but we'll find Myra Armijo: Leigh Watkins Laura Fletcher: out. Myra Armijo: neither. Laura Fletcher: 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 Myra Armijo: Interface Laura Fletcher: like to Myra Armijo: industrial. Laura Fletcher: see Uh I'm sorry, yeah, Myra Armijo: Yeah. Laura Fletcher: I'm sorry. User Patricia Lee: Well, Laura Fletcher: Interface Patricia Lee: we understand. Laura Fletcher: Designer, uh Roo, I would like to see the user interface c uh concept. And um Myra Armijo: Uh the only problem is it that it depends on the divisions the decis uh decisions Sebastian makes. Patricia Lee: Well Myra Armijo: About the voice Laura Fletcher: Well, Myra Armijo: recognition. Laura Fletcher: i it should Myra Armijo: Well Laura Fletcher: be easy, that's w w what we concluded. It should Patricia Lee: Mm yes. Laura Fletcher: be an easy interface with not so much buttons. Myra Armijo: Yeah. Laura Fletcher: 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. Patricia Lee: So we drop the voice recognition? Laura Fletcher: No Patricia Lee: Or Laura Fletcher: no no, Patricia Lee: Oh. Laura Fletcher: 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 Patricia Lee: Okay. Laura Fletcher: design of the Patricia Lee: Well um do we really have to decide now or Laura Fletcher: No. Patricia Lee: can we decide next meeting? Laura Fletcher: We can decide the next meeting. Patricia Lee: Okay. Laura Fletcher: Yep. Patricia Lee: Because I'll have some updated info on that uh Laura Fletcher: Yeah. I guess all of you have i updated info. I'm sure Myra Armijo: Yep. Laura Fletcher: Leigh Watkins will receive uh t uh you will do some trend watching. And I'm sure Leigh Watkins: Hmm. Laura Fletcher: the market will um uh uh will change, Myra Armijo: Adapt. Patricia Lee: Adapt. Leigh Watkins: Left. Laura Fletcher: adapt Leigh Watkins: Hmm. Laura Fletcher: and um so we will see that. Um yeah, that's Myra Armijo: That's Laura Fletcher: it for Myra Armijo: it. Laura Fletcher: now. Myra Armijo: 'Kay. Laura Fletcher: Any other questions or can we have the lunch? Patricia Lee: We can have the lunch. Leigh Watkins: Yeah. Laura Fletcher: Yeah, Myra Armijo: I'll Laura Fletcher: okay. Myra Armijo: take the lunch. Laura Fletcher: 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. Myra Armijo 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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Cindy Horan: Do you need to change anything on it Patti Summitt: Um Cindy Horan: Because? otherwise I will already open it. Patti Summitt: Mm, don't think so. Cindy Horan: Okay. Patti Summitt: Unless uh things have suddenly change again. Cindy Horan: Is it much changes? Patti Summitt: Uh don't know. Maybe uh Cindy Horan: Uh I didn't Patti Summitt: you've got new information, Cindy Horan: No no. I do Patti Summitt: like Cindy Horan: hot have Patti Summitt: uh last time. Cindy Horan: Only the same information. Patti Summitt: Okay. Cindy Horan: Hello, Sebastian. Adele Beshears: Hello hello Mister P_M_. Cindy Horan: I believe uh Miss uh Tentel is with us as well, in the control room. Adele Beshears: Well, that's where the thinking goes on. Cindy Horan: Oh, it's that Roo again, always late. Bongiorno. Shirley Budde: Bongiorno. Adele Beshears: I think you should punish him. You're the P_M_. Cindy Horan: Hmm. Shirley Budde: Punish. Cindy Horan: I see some interesting okay. Adele Beshears: Possibilities, Shirley Budde: You wish. Adele Beshears: yeah? Cindy Horan: People, welcome back. Shirley Budde: Welcome. Cindy Horan: The third Shirley Budde: Uh Cindy Horan: meeting. Patti Summitt: Oop. Cindy Horan: 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 Patti Summitt to see what Shirley Budde: Yeah. Cindy Horan: 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. Adele Beshears: Yes. Cindy Horan: Okay. Adele Beshears: So Cindy Horan: We'll come to that later, I g I think. Um the agenda for now uh uh are there any pre-discussion questions? Shirley Budde: No. Adele Beshears: Not at all. Patti Summitt: No. Cindy Horan: 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, Adele Beshears: Okay. Cindy Horan: um the progress you've made. Um I think it might be smart to look at uh Ruud's um information first, Patti Summitt: 'Kay. Cindy Horan: because I understood there are some uh significant changes in the market Patti Summitt: Hmm? Cindy Horan: situation. Shirley Budde: Alright. Patti Summitt: Oh. Adele Beshears: Just press the okay button, it Patti Summitt: Yeah, Adele Beshears: works. Patti Summitt: Okay. Cindy Horan: Um Patti Summitt: Yeah. Cindy Horan: yeah. Patti Summitt: Yeah. My method? Adele Beshears: How surprising. Patti Summitt: 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 Cindy Horan: Uh Patti Summitt: younger Cindy Horan: w Patti Summitt: group Cindy Horan: wait a Adele Beshears: Oh Cindy Horan: sec Adele Beshears: wait uh wait up. Cindy Horan: wait a se uh could you go to the previous slide? Um because I'm taking minutes and it Patti Summitt: 'Kay. Cindy Horan: Um were the important themes enclose. Yeah okay. The feel of to be spongy Adele Beshears: Uh so do you think um when fruit and vegetables are important for clothing and shoes that they are in remote controls also? Patti Summitt: Well, uh one example given was this, so um I assume they just want something colourful. Not uh Adele Beshears: Not Patti Summitt: specifically Adele Beshears: something dull. Patti Summitt: uh an apple as a Adele Beshears: Okay. Patti Summitt: remote control Shirley Budde: But they Patti Summitt: or Shirley Budde: like Patti Summitt: something. Shirley Budde: dark colours, you said in Patti Summitt: No, Shirley Budde: the Patti Summitt: uh Shirley Budde: p Patti Summitt: the younger group likes uh more colourful Shirley Budde: Okay. Patti Summitt: uh objects. Shirley Budde: Well then I suggest that the Patti Summitt: But Shirley Budde: corporate colours are grey and yellow. I Adele Beshears: But Shirley Budde: had Adele Beshears: can you can you go back to that slide? The Patti Summitt: Which one? Adele Beshears: uh Patti Summitt: This? Adele Beshears: just one slide back, no no no. Yes. Okay, and the feel of the material has to be spongy. Patti Summitt: Yes. Adele Beshears: Has it something to do with that uh natural feeling also, do you think? Patti Summitt: Uh well, it might. But personally I wouldn't like a sponge as a remote control. But Maybe soft material or something. But not Cindy Horan: Okay, so Patti Summitt: a real Cindy Horan: so, Patti Summitt: sponge. Cindy Horan: yeah, it might not be t uh it it shouldn't be too hard. It it maybe it rubber or or Patti Summitt: Yeah, exactly. Cindy Horan: yeah. Okay. Patti Summitt: Yeah, and like uh Shirley Budde: Or we could Patti Summitt: the older Shirley Budde: make Patti Summitt: group Shirley Budde: oh. Patti Summitt: likes familiar materials, but that doesn't mean we should use wood, So Adele Beshears: Okay. Patti Summitt: 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. Cindy Horan: Yeah. Patti Summitt: So we could provide both for the young and the old what they like. Cindy Horan: Well, that's interesting. Adele Beshears: It's quite interesting. Cindy Horan: You could make a few v very colourful ones, Shirley Budde: Yeah, o o Cindy Horan: and uh a very traditional Adele Beshears: Yes. Cindy Horan: co Shirley Budde: I'm thinking Cindy Horan: cover. Shirley Budde: about uh the Bananarama telephone uh telephone from uh Siemens. The yellow uh rubber Cindy Horan: Yeah, yeah. Shirley Budde: telephone. It's the it's the rubber uh Cindy Horan: Yeah, it is, it Shirley Budde: cover. Cindy Horan: is i yeah. Shirley Budde: And uh colourful. It Cindy Horan: Yeah. Shirley Budde: looks likes a banana. We have the fruit, we have the colours. Cindy Horan: Do Shirley Budde: We have Cindy Horan: you know Shirley Budde: the simple Cindy Horan: the phone? Shirley Budde: design. Adele Beshears: I don't know the phone, but Cindy Horan: It's the Siemens Adele Beshears: I can imagine Cindy Horan: uh Adele Beshears: it. Cindy Horan: C_ twenty five, Shirley Budde: Um Cindy Horan: I believe it's it's Shirley Budde: thirty Cindy Horan: the Shirley Budde: five. Cindy Horan: one the Post-bank uh gave away, Adele Beshears: Oh, that one, Cindy Horan: the Shirley Budde: And Adele Beshears: yes. Cindy Horan: very Shirley Budde: the b the light Adele Beshears: Now Shirley Budde: blue Adele Beshears: I kn uh oh, I know, Shirley Budde: and Adele Beshears: I know. Shirley Budde: it's also in yellow. Adele Beshears: Yes, I I've seen it. I've seen it. Cindy Horan: You kn you know, Ruud, as well? About Patti Summitt: I've Cindy Horan: th Patti Summitt: seen it, but Cindy Horan: Okay. Okay. Um uh okay. Do Patti Summitt: 'Kay. Cindy Horan: you have uh thit that was Patti Summitt: Uh that's about it. Cindy Horan: Okay. Okay, so the the m uh important findings are uh innovation is more important than ease of use for the our target group. Patti Summitt: Yes. Cindy Horan: And um colouring is important and and Patti Summitt: Uh Cindy Horan: uh Patti Summitt: soft material. Cindy Horan: soft materials. Okay. Adele Beshears: So So ease of use is important, but technology is twice as important. And what was even more important? Patti Summitt: Uh the fancy look and feel. Adele Beshears: Okay. So that's the most important thing for Patti Summitt: Yes. Adele Beshears: our customers. Patti Summitt: Apparently. Cindy Horan: Okay, Roo, Shirley Budde: Yeah. Cindy Horan: could you do your presentation? Shirley Budde: 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 Cindy Horan: Okay, well it's good to to sum up uh the things we already thought about. Shirley Budde: 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 Cindy Horan: Shape. Shirley Budde: 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 Adele Beshears: Mm-hmm. But it's it's Shirley Budde: remote Adele Beshears: kind Shirley Budde: control. Adele Beshears: of uh Shirley Budde: Uh yellow. Adele Beshears: it's kind of o organic, so that's very good. Cindy Horan: Yeah. Patti Summitt: Yeah. Cindy Horan: 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. Adele Beshears: Yes. Cindy Horan: Um it shouldn't be too uh glatt, too Adele Beshears: Slippery. Cindy Horan: slippery, s because Shirley Budde: But Cindy Horan: um Shirley Budde: if you Adele Beshears: You have Shirley Budde: have Adele Beshears: to Shirley Budde: something Adele Beshears: grab it. Shirley Budde: like uh the Siemens phone, Cindy Horan: Yeah. Shirley Budde: it's rubber. So Cindy Horan: Yeah, exactly. Shirley Budde: it's easy in your hand Uh Cindy Horan: Yeah. Shirley Budde: indeed. Adele Beshears: Yes. There are there are also remote controls who have uh a little shape underneath Cindy Horan: Yeah, Adele Beshears: where Cindy Horan: ex Adele Beshears: you can put Cindy Horan: for Adele Beshears: your fingers Cindy Horan: your fingers, Adele Beshears: in, Cindy Horan: yeah. Adele Beshears: so you can get Shirley Budde: Yeah. Adele Beshears: 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. Cindy Horan: Yeah. Adele Beshears: So Cindy Horan: It grips Adele Beshears: m Cindy Horan: automatically. Adele Beshears: Yes. Cindy Horan: Yeah, Adele Beshears: But Cindy Horan: okay. Adele Beshears: I'll I'll go into that deeper in my presentation. Cindy Horan: Okay, good. Shirley Budde: Great. Shirley Budde: 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 Cindy Horan: Yeah. Shirley Budde: and uh Cindy Horan: Way Shirley Budde: and so Cindy Horan: too Shirley Budde: on. Cindy Horan: much I think for Shirley Budde: Yeah. Cindy Horan: our goal, yeah. Shirley Budde: So if you have the voice recognition, you can you can programme like thirty uh um Cindy Horan: Okay, Shirley Budde: thirty c Adele Beshears: Okay, Shirley Budde: uh Cindy Horan: b but I think Adele Beshears: but Shirley Budde: controls Adele Beshears: I'll Cindy Horan: we'll Adele Beshears: I'll Shirley Budde: on Adele Beshears: go Shirley Budde: it. Adele Beshears: into that, Cindy Horan: yeah. Adele Beshears: 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 Cindy Horan: Okay. Adele Beshears: 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. Shirley Budde: Yeah. Adele Beshears: The the big remote control, Shirley Budde: Right. Adele Beshears: 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 Patti Summitt 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 Shirley Budde: Great. Adele Beshears: up your uh Cindy Horan: Well, Adele Beshears: I Cindy Horan: it Adele Beshears: d Cindy Horan: would be very new to the market, but Adele Beshears: It would be very new, but it's a kind of a retro uh style, I Cindy Horan: Yeah. Adele Beshears: 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 Shirley Budde: Like the Adele Beshears: when Shirley Budde: watch. Adele Beshears: 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. Cindy Horan: I think um, if if I can hook on to that, um the kinetic thing Adele Beshears: Mm-hmm. Cindy Horan: is very funny. Adele Beshears: It's very funny indeed. Cindy Horan: I mean solar is of course it's nice, but it's, Adele Beshears: Mm-hmm. Cindy Horan: well, your uh your calculator has a solar panel. Adele Beshears: Indeed. Cindy Horan: Um hand Shirley Budde: But Cindy Horan: dynamo Shirley Budde: if you're watching a movie, how many times uh you take the the remote control and and Cindy Horan: Well, maybe Shirley Budde: if Cindy Horan: m Shirley Budde: uh if you have a watch, you have the kinetic uh idea in a watch also. Cindy Horan: Yeah, Adele Beshears: Mm-hmm. Cindy Horan: I know. Shirley Budde: You you walk Adele Beshears: Yes. Shirley Budde: and Cindy Horan: Yeah. Shirley Budde: uh but Adele Beshears: But Shirley Budde: uh you you're Adele Beshears: you Shirley Budde: sitting Adele Beshears: know Shirley Budde: on a couch. Adele Beshears: 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 Cindy Horan: Yeah. Adele Beshears: in an amount of time, Cindy Horan: And Adele Beshears: and you Cindy Horan: wha Adele Beshears: 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. Cindy Horan: Okay. Adele Beshears: So, but maybe maybe there's a possibility com to combine it with m uh traditional batteries, on the batteries and Cindy Horan: Yeah. Adele Beshears: um when there's enough kinet kinetic energy, use the kinetic energy, and otherwise use the batteries. Cindy Horan: Okay, because I guess the voice recognition feature u consumes quite a f uh a lot of power. Adele Beshears: Uh yes, it does. Cindy Horan: Yeah. Adele Beshears: I'll come to that later. Cindy Horan: Okay. Adele Beshears: 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 Shirley Budde: Mm-hmm. Adele Beshears: 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 Shirley Budde: Mm-hmm. Adele Beshears: with the four Shirley Budde: Oh, we can just make four push-buttons in a form of a round. Adele Beshears: Yes. That is possible too. Yes. Shirley Budde: But I th I don't think uh the scroll-wheels I had some I had some information about it too. Adele Beshears: Mm-hmm. Shirley Budde: I don't think there's any possibility for us to use scroll-wheels. Cindy Horan: Well Shirley Budde: I d I can't see uh any uh scenario where you would use a scroll-wheel with a Adele Beshears: Well, Shirley Budde: button on it. Adele Beshears: mayb uh well, m Patti Summitt neither. Maybe when you Cindy Horan: This Adele Beshears: integrate Cindy Horan: will be the Adele Beshears: some Cindy Horan: remote, Adele Beshears: functions. Shirley Budde: Yeah. Cindy Horan: right? Um with uh maybe a channel selector. What about integrating a scroll-bar on this side? Shirley Budde: Yeah, uh that's Adele Beshears: Uh Shirley Budde: a possibility, Adele Beshears: it's Shirley Budde: but Cindy Horan: Because Adele Beshears: do it's Cindy Horan: this Adele Beshears: done Cindy Horan: is Adele Beshears: before. Cindy Horan: how you keep it Adele Beshears: Yes. Shirley Budde: But Flores, Adele Beshears: It's quite quite good, yes. Shirley Budde: think about a scenario where y where you would use the scroll-button Cindy Horan: Volume? Shirley Budde: for Adele Beshears: Well, it's it well, i what he means is there's an Shirley Budde: A volume, Adele Beshears: button Shirley Budde: okay. Adele Beshears: integrated in the scroll-wheel. There's no scenario where you use uh the button in the scroll-wheel. You just use the wheel. Cindy Horan: Well, what about mute? Adele Beshears: About mute. Well, Cindy Horan: Thi Adele Beshears: yes. Cindy Horan: i i m I guess uh th this Adele Beshears: Okay. Cindy Horan: is my volume button. Adele Beshears: Yes. Cindy Horan: And I can either on this side or this Adele Beshears: Well, Cindy Horan: side Adele Beshears: okay. Cindy Horan: um Adele Beshears: Well, that that that's one possibility, okay. Cindy Horan: And click it to muten the device. Adele Beshears: Well, okay. Cindy Horan: And and Adele Beshears: It's quite Cindy Horan: it Adele Beshears: goods. Cindy Horan: 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 Adele Beshears: Mm-hmm. Cindy Horan: ones. Adele Beshears: Yes. Cindy Horan: So maybe um I guess that that's something you two uh Shirley Budde: Yeah. Cindy Horan: need to think about. Uh Ruud, wha what do you thing about uh a scroll-bar? Patti Summitt: Um Cindy Horan: Uh scroll-wheel. Shirley Budde: Wheel. Patti Summitt: Uh well, it's obvious obviously new. So it might attract uh the young customers. Adele Beshears: Hmm. Cindy Horan: Okay. Adele Beshears: But it's done before, uh there are many other devices um like uh telephones and our uh radio, pocket radios. We use this. Cindy Horan: Yeah. Adele Beshears: And Well, it's it's been done years ago and I don't see it anywhere now. So Cindy Horan: Well, Adele Beshears: maybe Cindy Horan: all Adele Beshears: it's Cindy Horan: the Sony Adele Beshears: not no. Cindy Horan: telephones use it, for example, for volume. but on their side th the the volume button is on the side, because Adele Beshears: Hmm. Cindy Horan: you gri grab it like this. Adele Beshears: Yes, but it uses two separate buttons. Cindy Horan: Yeah. I know, Adele Beshears: It Cindy Horan: it's Adele Beshears: doesn't Cindy Horan: not really Adele Beshears: use Cindy Horan: a Adele Beshears: a. Cindy Horan: scroll-wheel. No. Yeah. Adele Beshears: Well. Uh something for uh Cindy Horan: For Adele Beshears: Roo Cindy Horan: you too, Adele Beshears: here. Cindy Horan: yeah. Shirley Budde: 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 Adele Beshears: Wi within Shirley Budde: of your Adele Beshears: reach. Shirley Budde: thumb. Adele Beshears: Yes, you have to. Shirley Budde: So in that Adele Beshears: Yes. Shirley Budde: case uh the volume button on the side uh Adele Beshears: yes. Shirley Budde: of the remote control would be perfect. Adele Beshears: Yeah, yeah. Cindy Horan: Okay. Adele Beshears: Okay. Cindy Horan: Sebastian. Um Adele Beshears: 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 Cindy Horan: Yeah. Adele Beshears: 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 Patti Summitt. But I think that's the the voice recognition thing that we are uh thinking Shirley Budde: Yeah Adele Beshears: about. Shirley Budde: yeah, you can um I have some information about it. Uh in the voice recognition you say a word you can Adele Beshears: Mm-hmm. Shirley Budde: programme words like Adele Beshears: Okay. Shirley Budde: uh v uh volume up. Adele Beshears: Okay. So Shirley Budde: Of mute, let's Adele Beshears: so Shirley Budde: say mute. Adele Beshears: okay. Shirley Budde: Um you programme it, you m mute and you g you give um an uh an action to it Adele Beshears: Mm-hmm. Shirley Budde: that that's really the mute function Adele Beshears: Yeah. Shirley Budde: and uh when you speak in the the remote control, it repeats uh your saying. So that's the sample sensor. Adele Beshears: Okay. Shirley Budde: So if you say mute, it says mute again, Adele Beshears: Mm-hmm. Shirley Budde: and then it's um well, I believe Cindy Horan: It Shirley Budde: it's Cindy Horan: performs Shirley Budde: uh Cindy Horan: the action. Shirley Budde: Yeah, and Cindy Horan: Yeah. Shirley Budde: then uh he he Adele Beshears: Okay. Shirley Budde: repeats its action what which he believes it is. So you Cindy Horan: Yeah. Shirley Budde: say mute, he repeats mute and you makes a computer sound mute, and then goes to the mute Adele Beshears: Okay. Shirley Budde: function. Adele Beshears: 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. Cindy Horan: Okay. Uh well Adele Beshears: Okay. Cindy Horan: uh d did we already decide on the display? To Adele Beshears: Um no, but I think that's something for uh Roo here Shirley Budde: Yeah. Adele Beshears: to Shirley Budde: Well, Adele Beshears: think about. Shirley Budde: 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. Cindy Horan: No. Shirley Budde: Especially Adele Beshears: I I don't Shirley Budde: when Adele Beshears: think Shirley Budde: when Adele Beshears: either. Shirley Budde: we have to look at a cost, I don't think uh Adele Beshears: No. I Shirley Budde: 'cause Adele Beshears: don't think Shirley Budde: uh Adele Beshears: you need it. Shirley Budde: uh all any T_V_ can uh can uh view Cindy Horan: On Shirley Budde: a Cindy Horan: screen Shirley Budde: digit Cindy Horan: display. Shirley Budde: on uh on screen, yeah. Cindy Horan: Yeah. Adele Beshears: Okay. Cindy Horan: Okay th Adele Beshears: 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. Cindy Horan: Okay. Adele Beshears: So I Cindy Horan: Good. Adele Beshears: don't think we should use the dynamo Cindy Horan: Kineti Adele Beshears: thing. Cindy Horan: okay. Adele Beshears: The Patti Summitt: Hmm. Adele Beshears: 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. Cindy Horan: Okay, it's Adele Beshears: Otherwise Cindy Horan: maybe Adele Beshears: it will Cindy Horan: a bit Adele Beshears: not Cindy Horan: too too Adele Beshears: too Cindy Horan: flashy, Adele Beshears: advanced, Cindy Horan: too Adele Beshears: uh well. Cindy Horan: yeah. Adele Beshears: It's in in in some way it can give us an advance, because you will save on your batteries. But Cindy Horan: Yeah, but that that's the same with the solar cell. Adele Beshears: Yes. Cindy Horan: That's no Adele Beshears: And Cindy Horan: different. Adele Beshears: I think it's more robust. It's Cindy Horan: Yeah. Adele Beshears: more uh Cindy Horan: Okay. Shirley Budde: But what Adele Beshears: Uh Shirley Budde: about Adele Beshears: it's more Shirley Budde: um Adele Beshears: functional. Shirley Budde: the markets uh wants colourfuls uh designs? So if you use titanium Cindy Horan: No no, but the uh um Adele Beshears: The titanium Cindy Horan: that's what Sebastian Adele Beshears: thing uh Cindy Horan: said. He said uh Adele Beshears: we Cindy Horan: this Adele Beshears: have to Cindy Horan: is Adele Beshears: skip Cindy Horan: what Adele Beshears: it. Cindy Horan: uh this is my personal preference. Shirley Budde: Okay. Cindy Horan: But but yet, I understood that the market is different. Shirley Budde: Oh, sorry. Yeah. Cindy Horan: So Adele Beshears: So Cindy Horan: um Adele Beshears: I think we should skip the titanium uh stuff, Shirley Budde: Yeah. Adele Beshears: and we should uh use wood or something like that. Patti Summitt: And Shirley Budde: And I Patti Summitt: yeah, Shirley Budde: would Cindy Horan: No, Shirley Budde: think Patti Summitt: the Cindy Horan: r rubber with colours. Patti Summitt: yeah, the older people liked wood. Adele Beshears: Oh okay, sorry. So it Patti Summitt: No Adele Beshears: it Patti Summitt: the Adele Beshears: needs to be rubber. Cindy Horan: Colourful Patti Summitt: Yeah, the younger Adele Beshears: Okay. Patti Summitt: people Cindy Horan: and Patti Summitt: liked soft material. Adele Beshears: Okay, Cindy Horan: Yeah. Adele Beshears: spongy materials. Patti Summitt: Yeah. Adele Beshears: Okay, um well um these scroll-wheels, I think uh they they can be they can be handy. So Shirley Budde: And they can be implemented with a regular chip? Adele Beshears: Yes, they can. But they really need the regular chip, you cannot use Shirley Budde: Okay, Adele Beshears: the sa Shirley Budde: but we Adele Beshears: simple Shirley Budde: also uh we already need the regular chip for the sample uh Adele Beshears: Well, I'm not Shirley Budde: sensor Adele Beshears: very sure. Shirley Budde: speaker Adele Beshears: Maybe that's an Shirley Budde: oh, Adele Beshears: uh Cindy Horan: But but Adele Beshears: a different Cindy Horan: do Shirley Budde: evalu Cindy Horan: we want the curved uh uh design, or Adele Beshears: I think so, if you if you stick with the the simple uh straight-forward uh not curve design, Cindy Horan: I it's Adele Beshears: i uh Cindy Horan: too Adele Beshears: it's too Cindy Horan: dull. Adele Beshears: dull. Patti Summitt: Yeah. Cindy Horan: Yeah. Adele Beshears: 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 Cindy Horan: Yeah. Adele Beshears: and you cannot use the scroll-wheels. So Cindy Horan: Okay. Adele Beshears: I Cindy Horan: Okay. Adele Beshears: think this is the best of two worlds. Cindy Horan: 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. Adele Beshears: Yes. Cindy Horan: Because it it's of Adele Beshears: It's Cindy Horan: cour Adele Beshears: 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. Cindy Horan: Yeah. Adele Beshears: It's very unlogical. Shirley Budde: infrared uh remote controls don't have to be pointed at all. Adele Beshears: Well the Cindy Horan: Well Adele Beshears: there has to be some pointing at. But Cindy Horan: It depends Shirley Budde: Well, Cindy Horan: also Shirley Budde: if you Cindy Horan: on Shirley Budde: if Cindy Horan: your Shirley Budde: you Cindy Horan: on Shirley Budde: take your Cindy Horan: your Shirley Budde: hand before it, okay, it won't work, but you can point it just Cindy Horan: Well, it depends Shirley Budde: to the other Cindy Horan: on Shirley Budde: wall. Cindy Horan: your walls actually. If you Shirley Budde: Yeah. Cindy Horan: have uh have um smooth walls, it it it probably you're probably right. But if you have carpets on the wall, Adele Beshears: All Cindy Horan: which Adele Beshears: lights get Cindy Horan: our Adele Beshears: absorbed, Cindy Horan: natural Adele Beshears: yeah. Cindy Horan: loving friends probably do have, then um yeah, th th it might be a bit more of a issue. Adele Beshears: Yes, because Cindy Horan: So Adele Beshears: the walls they they reflect the infrared light. Cindy Horan: Yeah. Adele Beshears: So it has an it's easier. Um I suggest we use the the sensor sample. Uh the sample sensor and sample speaker. Um Shirley Budde: And the regular Adele Beshears: with a Shirley Budde: chip. Adele Beshears: with a regular chip. I think uh it gives us the advantage Shirley Budde: And and Adele Beshears: of Shirley Budde: the scroll uh scroll-wheels. Adele Beshears: Yes, Shirley Budde: Yeah. Adele Beshears: yes. Cindy Horan: I Adele Beshears: And Cindy Horan: like the Adele Beshears: uh Cindy Horan: scroll Adele Beshears: skip Cindy Horan: wheels uh idea. Adele Beshears: and skip the L_C_D_ part. Cindy Horan: Yeah. Adele Beshears: I don't think it it's any uh value added Shirley Budde: No. Adele Beshears: thing. So Shirley Budde: Think so too. Cindy Horan: Well, it looks Adele Beshears: Okay. Cindy Horan: uh yeah, well um according to Ruud, the the the market likes um Adele Beshears: Technology. Cindy Horan: new flashy technology, and Adele Beshears: Yes. Cindy Horan: I mean L_C_D_ Adele Beshears: It's Cindy Horan: is Adele Beshears: not very flashy and Cindy Horan: well, Adele Beshears: new. Cindy Horan: ok I know, but it's m it's less um s Patti Summitt: Standard? Cindy Horan: 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. Adele Beshears: Mm-hmm. Cindy Horan: Because if we do have enough um space in in our finance, Adele Beshears: Mm-hmm. Cindy Horan: I would say do integrate it, because it it adds a little ext extra Adele Beshears: Yes. Cindy Horan: high-tech feeling to it. Shirley Budde: But we already have the scroll-wheels, the sp uh the speaker uh the speak recognition, Cindy Horan: Mm yeah. Shirley Budde: the rubber, Adele Beshears: Uh I think our customers Shirley Budde: the fancy Adele Beshears: will go Shirley Budde: colours. Adele Beshears: insane. Cindy Horan: Okay, okay. Adele Beshears: It's it's too much. Cindy Horan: 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 Patti Summitt: Nah, um n no, I don't think so. M Cindy Horan: No? Sebast uh nee, Roo? Roo, do you Shirley Budde: Um Cindy Horan: have any other Shirley Budde: no. Nothing more. Cindy Horan: Nothing more. Um Adele Beshears: Okay. Uh the n the next Cindy Horan: Sebas Adele Beshears: phase will be um the um not the what is the next phase f Flores? Cindy Horan: Well, we we need to describe uh decisions now. Adele Beshears: Okay. Cindy Horan: So um Adele Beshears: So i Cindy Horan: on the energy, Adele Beshears: Okay. Cindy Horan: well, we decided. Chip. Adele Beshears: Okay. Cindy Horan: The case uh rubber with uh c one Adele Beshears: Okay, Cindy Horan: one Adele Beshears: okay. Cindy Horan: uh one curve. User interface um Shirley Budde: Uh but uh can't scroll-wheels uh work with one uh one-curved case? Adele Beshears: Yes, Shirley Budde: Yeah, Adele Beshears: they can Shirley Budde: okay. Adele Beshears: work. Shirley Budde: Sorry, Adele Beshears: They Shirley Budde: yeah. Adele Beshears: cannot work with double-curved. Shirley Budde: Oh, sorry. Adele Beshears: That's that's Shirley Budde: Yeah. Adele Beshears: problem. I'll check it for you. Cindy Horan: 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. Shirley Budde: Yeah. Cindy Horan: Keep it in mind. And um the buttons, well we talked about it now. The next phase, um Sebastian, um Adele Beshears: Yes. Cindy Horan: is um the design of the look and feel. Adele Beshears: Mm-hmm. Cindy Horan: 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. Adele Beshears: Okay. Cindy Horan: And I'm going uh to plan my holidays. Adele Beshears: Okay. So you will Shirley Budde: The project Adele Beshears: be on the Bahamas. Shirley Budde: drawing is Adele Beshears: Uh Shirley Budde: for the next Cindy Horan: Yeah, it's it's uh when we come back in Shirley Budde: Yeah, Cindy Horan: thirty minutes, Shirley Budde: right. Cindy Horan: uh you will have a uh prototype ready. Adele Beshears: Okay. So can you uh give us a summary of all uh decisions we've made? Cindy Horan: Yeah? I can. Um maybe one of you could write it down. Adele Beshears: I'll do. Cindy Horan: Great. Um Uh you you need to help Patti Summitt. Um Adele Beshears: Okay. W start with the casing. Cindy Horan: The casing is curved, Shirley Budde: Single-curved. Adele Beshears: Okay, Cindy Horan: single-curved. Adele Beshears: single-curved case. Okay. What about the energy source? Cindy Horan: Traditional batteries uh and solar. Shirley Budde: But can there be uh wor can they work together? Or do we have to choose between them? 'Cause if we Cindy Horan: No, Shirley Budde: have to Cindy Horan: they Shirley Budde: choose Cindy Horan: can be complementary. Adele Beshears: I Cindy Horan: Uh Shirley Budde: yeah? Adele Beshears: I Cindy Horan: al Adele Beshears: think they can. Cindy Horan: al Adele Beshears: Yes. Cindy Horan: I uh Shirley Budde: Okay. Adele Beshears: Well, uh Shirley Budde: What Cindy Horan: Every Shirley Budde: if not? Cindy Horan: device Adele Beshears: It it should be. There should be really no problem. They Shirley Budde: Okay. Adele Beshears: can be supplementary. That's no problem. Cindy Horan: Yeah. Adele Beshears: So Cindy Horan: Okay, um Adele Beshears: So Cindy Horan: th Adele Beshears: uh uh just uh the energy source is um Cindy Horan: Battery Adele Beshears: the batteries and Cindy Horan: and Adele Beshears: the Cindy Horan: solar, Adele Beshears: solar. Okay. Cindy Horan: yeah. Adele Beshears: What about uh the finishing of the case? We have decided we wanted to use the rubber? Cindy Horan: Yeah, Shirley Budde: Yeah. Cindy Horan: 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. Adele Beshears: Okay, and I think we should use the company colours. Something like black and red. uh black and yellow. Cindy Horan: Uh grey and yellow Shirley Budde: Grey and Cindy Horan: or Shirley Budde: yellow. Cindy Horan: black and Adele Beshears: Grey Cindy Horan: yellow. Adele Beshears: yellow, Cindy Horan: Yeah. Adele Beshears: okay. Shirley Budde: Yellow case and grey buttons, I think. Cindy Horan: Yeah, although Patti Summitt: Hmm. Cindy Horan: 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 Adele Beshears: Oh, Cindy Horan: of colours. Adele Beshears: I think it's uh it's not very dull. It's quite modern actually. Don't you think? Cindy Horan: Well, I was Shirley Budde: I believe Cindy Horan: more thinking Shirley Budde: the Cindy Horan: about the fruit colours that the Ruud showed us before. Shirley Budde: But you have already um you must have a red uh on and off button. And um Cindy Horan: Well, it it doesn't Shirley Budde: Well Cindy Horan: have to be red. Shirley Budde: well Cindy Horan: 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 Adele Beshears: Hmm. Cindy Horan: colour cover with such an image or or I mean Adele Beshears: Okay. Cindy Horan: thinking in two colours is is too black and white for our m uh c uh market group, I guess. Patti Summitt: Or black and yellow. Cindy Horan: Black and yellow, yeah. Adele Beshears: 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 Shirley Budde: Well, there is. Just a week ago, a keyboard manufacturer Adele Beshears: Oh, I've Shirley Budde: would Adele Beshears: read. Shirley Budde: print, Patti Summitt: Yeah. Adele Beshears: Yes. Shirley Budde: with and uh Adele Beshears: Yes, but our manufacturing department is not so advanced in its uh techniques. They're actually very slow Shirley Budde: No. Adele Beshears: in its techniques. Cindy Horan: Okay, Adele Beshears: So Cindy Horan: so we have to deal with wh what's possible here. Adele Beshears: So I'm afraid it's not possible. Cindy Horan: Yeah. Okay. Um more f more more decisions we made. Um Um Shirley Budde: A scroll-wheel. Cindy Horan: The scroll-heel. Yes, the voice recognition we Shirley Budde: Voice Cindy Horan: already Shirley Budde: recognition, Cindy Horan: decided. Shirley Budde: of course. Adele Beshears: Okay, so scroll-wheel. But there will be some additional buttons, I guess. Cindy Horan: Yeah. Adele Beshears: And th the they should be spongy also, because they're they're rubber too. Cindy Horan: Uh I'm going to leave that up to you two. Shirley Budde: What what did you say? Adele Beshears: Well uh you can use well, when you use the buttons, they'll they'll be made of rubber too. So Shirley Budde: Yeah. Adele Beshears: it has th the spongy uh feel also. Cindy Horan: Yeah. Adele Beshears: So I I think that's okay. Shirley Budde: Yeah, or you could use plastic buttons. In the rubber. Cindy Horan: 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, Shirley Budde: Yeah, b Cindy Horan: or or i Shirley Budde: 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. Cindy Horan: Uh is that uh does our our Shirley Budde: It Cindy Horan: supplier Shirley Budde: is not uh Cindy Horan: say Shirley Budde: something Cindy Horan: so? Shirley Budde: uh it's no information I read about it or so, but Patti Summitt: Uh Shirley Budde: it's Patti Summitt: didn't Shirley Budde: just from Patti Summitt: did we inc uh include the digi digits or uh leave them Shirley Budde: No, Patti Summitt: to the Shirley Budde: but Patti Summitt: speech Shirley Budde: but Patti Summitt: recognition? Shirley Budde: uh it Patti Summitt: 'Cause things like uh volume could be uh placed next to the button. Cindy Horan: Yeah. You could place a um Patti Summitt: There Cindy Horan: uh Patti Summitt: the Cindy Horan: this Patti Summitt: icons. Cindy Horan: this would be the button. The scroll-wheel, I mean. Shirley Budde: Yeah, Cindy Horan: And Shirley Budde: b Cindy Horan: you could Shirley Budde: yeah. Cindy Horan: place the indica Adele Beshears: Yes. Cindy Horan: th th the signals the Patti Summitt: So you don't Adele Beshears: That's okay. Shirley Budde: Yeah, Patti Summitt: touch Shirley Budde: that's possible, Patti Summitt: the icons that Shirley Budde: but Patti Summitt: much. Shirley Budde: 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. Cindy Horan: No no, there's no painting, only uh Shirley Budde: Yeah. Cindy Horan: yellow or But it's into Shirley Budde: Yeah, but Cindy Horan: the Shirley Budde: but Cindy Horan: rubber. Shirley Budde: the the plus or the minus. Adele Beshears: Yes, the Shirley Budde: You Adele Beshears: signs. Shirley Budde: have to draw Cindy Horan: Yeah, but Shirley Budde: the Cindy Horan: this is on the pla yeah, Shirley Budde: Yeah, Cindy Horan: I Shirley Budde: it's Cindy Horan: know. Shirley Budde: on the cover. Cindy Horan: Um Shirley Budde: So if you uh Cindy Horan: I think uh I know which you understand af uh I know Shirley Budde: You Cindy Horan: what Shirley Budde: just Cindy Horan: you mean. Shirley Budde: move the problem. Cindy Horan: What about um making this rubber and making this plastic? Adele Beshears: 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. Cindy Horan: 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. Adele Beshears: Yeah. Cindy Horan: But the front, on which the the buttons are doesn't Adele Beshears: Mm-hmm. Cindy Horan: have to be rubber. I Adele Beshears: Well, Cindy Horan: mean Adele Beshears: I'm I'm not so sure, I think Shirley Budde: Y Adele Beshears: it Shirley Budde: uh can Adele Beshears: c should Shirley Budde: you separate Adele Beshears: be Shirley Budde: these uh these Adele Beshears: 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. Cindy Horan: I know, but do you touch this or do you touch this? I Adele Beshears: I Cindy Horan: mean, Adele Beshears: think Cindy Horan: I Adele Beshears: both. Cindy Horan: I never touch between the buttons. Shirley Budde: I do. Adele Beshears: I do. Shirley Budde: Or the s uh the sideways. Adele Beshears: I think Shirley Budde: Or the Cindy Horan: Yeah, the side, Shirley Budde: the Cindy Horan: exactly, Shirley Budde: back. Or Cindy Horan: the Shirley Budde: the Cindy Horan: sideways. Shirley Budde: back. Cindy Horan: The side, but Shirley Budde: I Cindy Horan: do you Shirley Budde: think Cindy Horan: touch between the the these buttons? Shirley Budde: 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 Cindy Horan: Okay. Shirley Budde: i Cindy Horan: Well, Shirley Budde: you Cindy Horan: we Shirley Budde: play Cindy Horan: do Shirley Budde: with Cindy Horan: not Shirley Budde: it. Cindy Horan: have very much time uh left. Um I guess you two have to figure that out. Shirley Budde: Yeah. Cindy Horan: 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 Shirley Budde: Yeah. Adele Beshears: Okay. Cindy Horan: so I'm going to leave it the decision with you. Um Sebastian, did you write enough decisions down? Adele Beshears: Um not quite. Um what about uh the chips? We use the regular chip? Shirley Budde: Regular. Adele Beshears: Okay. Cindy Horan: Yeah. Adele Beshears: And Shirley Budde: Use with. Adele Beshears: Well no, I think that's about it. Yes. Cindy Horan: Okay. With those regular chips we can still uh control advanced functions. The chip is is not really Adele Beshears: The only difference between the advanced and the regular version is that the advanced uh version of the chip supports L_C_D_. Cindy Horan: Okay, Adele Beshears: That's Cindy Horan: well. Adele Beshears: all. And we've decided not to use L_C_D_. Cindy Horan: Yeah. Adele Beshears: So Cindy Horan: Okay. Um okay, then I think we are uh quite finished. Um I'll see you guys in thirty minutes and um Shirley Budde: For the finishing touch. Cindy Horan: Yeah? Yeah, Adele Beshears: Okay. Cindy Horan: um if you write wrote anything down, uh could you put it on the shared folder? Adele Beshears: Okay. Shirley Budde: Uh yeah. Cindy Horan: Yeah. Shirley Budde: But um Sebastian has everything. Cindy Horan: I know, but well Adele Beshears: I'll put it online. Cindy Horan: Great. Cindy Horan: Right.

For the conceptual design, Patti Summitt 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.

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

Sandra Sison and Dorothy Sanchez 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.

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

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

For the conceptual design, Jeannie Tavira 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. Shelley Jones 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. Diann Horne 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 Shelley Jones's drawing, they designed another version shaped slightly like a banana, and discussed the positions of buttons and all other components.

amisum

train

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

Richard Stelly recapped the decisions made in the previous meeting. Jimmy Sosa 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. Maurice Peyser 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

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

Chance Ramos 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

John Jones: 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 Francisco Ciciora if it's possible. Francisco Ciciora: Uh John Jones: Um Francisco Ciciora: uh okay. John Jones: uh Francisco Ciciora: I'll just John Jones: 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? Francisco Ciciora: Uh I have a presentation I just saved it in the uh John Jones: Yeah, okay Francisco Ciciora: the John Jones: well I'll just uh Francisco Ciciora: folder. John Jones: I'll load it up then. Um. Which one Francisco Ciciora: Uh. John Jones: do y Oh, interface concept? Jake Clark: Yeah, that's Justin Hamlin. John Jones: That's you. We've got trend watching, that's Francisco Ciciora: It's John Jones: you. Francisco Ciciora: uh Components design. John Jones: Components design. John Jones: Okay. Francisco Ciciora: 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. John Jones: Okay. Francisco Ciciora: 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 John Jones: Okay. Francisco Ciciora: else uh a solar powered one. Um. John Jones: Now, the kinetic one, Justin Hamlin: Cost John Jones: we've Justin Hamlin: is John Jones: 'cause that's the ones where like you the movement causes Justin Hamlin: Yeah. Francisco Ciciora: Yeah. John Jones: it. Um the bat uh the battery for a a watch wouldn't require a lot of power, would be my one query. Is Jake Clark: Mm. John Jones: a kinetic one going to be able to supply enough power? Jake Clark: There's John Jones: Do Jake Clark: also John Jones: you Francisco Ciciora: Uh. John Jones: think? Jake Clark: a watch moves around a great deal more. John Jones: W Francisco Ciciora: Yeah, Justin Hamlin: Yeah. Francisco Ciciora: I don't think it would. Um. And solar cells, I dunno about that. Justin Hamlin: yeah. Francisco Ciciora: Uh. We should probably just use conventional batteries. Um, just like in usual remote controls. John Jones: Which I suppose Francisco Ciciora: Um. John Jones: as well would allow us to go off the shelf again, you'd say? Francisco Ciciora: 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 Justin Hamlin: Titanium, Francisco Ciciora: be Justin Hamlin: the really strong metal, titanium? Francisco Ciciora: Yeah, Justin Hamlin: Is it not Francisco Ciciora: and Justin Hamlin: also Francisco Ciciora: light. Justin Hamlin: it's expensive? Francisco Ciciora: Uh, i think so as well, yeah. They make John Jones: Um. Francisco Ciciora: mountain bikes out of that, don't they. John Jones: Um. Francisco Ciciora: So it's really light as well. John Jones: 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? Francisco Ciciora: Um. John Jones: Um could you maybe Francisco Ciciora: T John Jones: draw Francisco Ciciora: yeah. John Jones: 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. Francisco Ciciora: 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. John Jones: So it might literally just be Justin Hamlin: Two curves. John Jones: okay. Francisco Ciciora: Yeah like that. Whereas this is two curves. Um so I guess that's what they mean John Jones: Alright. Francisco Ciciora: 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. John Jones: Mm. Francisco Ciciora: 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? John Jones: 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? Francisco Ciciora: Yeah. So, depends where gonna spend the money if you want the f fancy L_C_D_ display. John Jones: 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? Justin Hamlin: Need an advanced chip for the L_C_D_. Is that did I John Jones: Well I think compared Francisco Ciciora: Yep. John Jones: to say just pressing buttons. Justin Hamlin: Advanced, like John Jones: if you press Justin Hamlin: three eight John Jones: a Justin Hamlin: six John Jones: button Justin Hamlin: advance. John Jones: 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. Justin Hamlin: Okay. John Jones: Just compared to the chip you would use for pushing buttons I think is the Justin Hamlin: Okay, John Jones: the Justin Hamlin: sure. John Jones: point being made. Jake Clark: Mm. John Jones: If I've not over-stepped. Yeah? Francisco Ciciora: Yeah i John Jones: Okay, um should I go on, or go back? Francisco Ciciora: Um Justin Hamlin: 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? John Jones: Well we'd also be relying on the um the bulk buying in producement and such. Justin Hamlin: Okay, that's John Jones: I Justin Hamlin: good John Jones: assume. Justin Hamlin: point. John Jones: We have to look into the costs of those. So, sorry. Francisco Ciciora: 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. John Jones: Okay. Francisco Ciciora: 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. John Jones: 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? Francisco Ciciora: 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_. John Jones: Um I mean that sounds like quite a good requirement to Justin Hamlin. Um conventional battery would seem to make sense. Um Jake Clark: Mm-hmm. John Jones: 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 Jake Clark: Mm. John Jones: a good way forward? Jake Clark: Um I'm actually gonna be bold and go oo go straight for rubber um for reasons I'll go into John Jones: Okay. Jake Clark: uh Justin Hamlin: I also Jake Clark: in more Justin Hamlin: have Jake Clark: detail. Justin Hamlin: a preference for rubber. John Jones: Okay, well um Justin Hamlin: Based on my research. John Jones: Yeah, well will we move on to user interface, and yeah? Um Jake Clark: Mm. John Jones: sorry, as long as were you? Francisco Ciciora: Yep I'm finished. John Jones: Yeah. Okay. Um and d d d interface concept. Jake Clark: Yep. Now I'm gonna have to work between the uh the slides and the uh John Jones: Yeah. Jake Clark: 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 Justin Hamlin: digital. Francisco Ciciora: Ah, okay. Jake Clark: 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, John Jones: Can I Jake Clark: so you John Jones: just jump in slightly there? Jake Clark: Mm-hmm. John Jones: That would suggest the double curved design's probably going to be most appropriate, then. Jake Clark: Yes, absolutely. John Jones: okay. Jake Clark: 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 John Jones: Mm. Jake Clark: 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 John Jones: Okay. Jake Clark: okay John Jones: Um, Jake Clark: on to John Jones: yeah. Jake Clark: on to the next uh to the next slide. John Jones: Just to let you know we'll probably be quite tight for time as well, Jake Clark: Okay. John Jones: because I think you've probably got a lot you'd like to say, I guess. Jake Clark: 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, Justin Hamlin: Is this the Jake Clark: and Justin Hamlin: joystick? Jake Clark: 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. Justin Hamlin: Okay. Jake Clark: 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. Justin Hamlin: Mm. Jake Clark: Um. But uh. Yeah. John Jones: Okay. Jake Clark: That's that's my idea. John Jones: Excellent, right. Justin Hamlin: Mm. John Jones: Um uh. Justin Hamlin: 'Kay. John Jones: File open. Justin Hamlin: We go. John Jones: Trend watching. Justin Hamlin: 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. John Jones: Okay. Justin Hamlin: 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 Justin Hamlin, 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 Francisco Ciciora: Oh Justin Hamlin: can Francisco Ciciora: yeah, Justin Hamlin: I Francisco Ciciora: I Justin Hamlin: skip Francisco Ciciora: forgot to Justin Hamlin: the Francisco Ciciora: mention Justin Hamlin: rest? Francisco Ciciora: that. The uh rubber material is the type of stress ball material, Justin Hamlin: Okay. Francisco Ciciora: not just normal rubber. Justin Hamlin: Okay, Francisco Ciciora: Forgot Justin Hamlin: so Francisco Ciciora: to say that. Justin Hamlin: kinda spongy material. So John Jones: Okay. Justin Hamlin: 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 John Jones: Mm-hmm. Justin Hamlin: 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 John Jones: Mm-hmm. Justin Hamlin: new black and we're stuck with last year's fruit and veg type stuff. 'Kay. John Jones: Okay. Justin Hamlin: That's Justin Hamlin. John Jones: 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. Jake Clark: Mm-hmm. John Jones: 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 Francisco Ciciora: Yeah. Jake Clark: Mm-hmm. John Jones: 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 Jake Clark: 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 Justin Hamlin: That's Jake Clark: irritating. Justin Hamlin: a good point. You can John Jones: Mm-hmm. Justin Hamlin: incorporate Jake Clark: But if you Justin Hamlin: names Jake Clark: h but but Justin Hamlin: into Jake Clark: but Justin Hamlin: the Jake Clark: if Justin Hamlin: menu. Jake Clark: you have a Justin Hamlin but if you have a menu structure, then you can sub-group them. Justin Hamlin: Okay. Jake Clark: So Justin Hamlin: Even John Jones: Okay. Jake Clark: you Justin Hamlin: news, music. Like they do on uh sky digital kinda. Jake Clark: Yeah. Justin Hamlin: Yeah. John Jones: So what it looks like to Justin Hamlin 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. Jake Clark: 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. John Jones: Do you Jake Clark: So John Jones: 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 Jake Clark: Mm. John Jones: be a worry of mine. Francisco Ciciora: If you're going with the fruit and veg thing, looks like a banana. F if you wanna design it that way. Jake Clark: 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. John Jones: Yeah, we won't add that functionality. Justin Hamlin: Okay. Course not. John Jones: 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 Francisco Ciciora: Yeah. John Jones: the des the colour of the logo? Justin Hamlin: Sure, Francisco Ciciora: Okay. Justin Hamlin: yeah. John Jones: I dunno. It's an Jake Clark: Mm-hmm. John Jones: certainly a different colour from your average um Jake Clark: Make it harder to lose, as well. Francisco Ciciora: Yeah. John Jones: That's Justin Hamlin: Sure. John Jones: true. Was there anything in your research Justin Hamlin: 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 Francisco Ciciora: monkey. Justin Hamlin: you lose the banana, you press a button, and you hear like monkey screams or something like that to direct you towards the banana. Jake Clark: I th uh I mean if it I think that's something that could perhaps be programmable, though maybe have monkey as default. Justin Hamlin: S Jake Clark: Um. Justin Hamlin: 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. Jake Clark: Mm-hmm. Justin Hamlin: But why you'd need to program it like as as a standard feature, I I don't know. Jake Clark: 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 John Jones: Mm-hmm. Jake Clark: the T_V_ responds to. It's Justin Hamlin: Yeah. Jake Clark: 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 Justin Hamlin: Mm-hmm. Jake Clark: you then find your um ma uh find your manufacturer and try the different codes that Justin Hamlin: Mm-hmm. Jake Clark: come under that manufacturer's name 'til you find the right one. Justin Hamlin: That's Jake Clark: It's Justin Hamlin: because televisions, they don't give the remote control any type of feedback when you send it. Jake Clark: Yeah, that's right. Justin Hamlin: Okay. Jake Clark: 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. John Jones: 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 Jake Clark: Yeah. John Jones: they maybe look up different names Jake Clark: Yeah. John Jones: 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. Justin Hamlin: Is it is it actually a book of names to digits, or is it like a few pages? Jake Clark: Um booklet. Some pages. Justin Hamlin: 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 Jake Clark: Yeah. Justin Hamlin: every John Jones: Doesn't have Justin Hamlin: s John Jones: to be used very often that's right, yeah. Justin Hamlin: Yeah, Jake Clark: Yeah. Justin Hamlin: and it's Jake Clark: But it's a but it's a nuisance. And it's a nuisance very close to the to um to actually purchasing it, Justin Hamlin: Mm. Jake Clark: 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 Justin Hamlin: Mm. Jake Clark: favourably inclined towards it. Um mm. John Jones: Okay, this just to give us a Justin Hamlin: Mm. John Jones: 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 Francisco Ciciora 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 Jake Clark: Mm. John Jones: do you s perceive that most the design design decisions still need to be based on the physical layout? Jake Clark: 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. John Jones: Mm-hmm, that's very true. Um. Okay. Um got product evaluation as well. Justin Hamlin: Yeah, John Jones: Um. Justin Hamlin: 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 John Jones: I Justin Hamlin: prototype. John Jones: 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. Justin Hamlin: Oh, that's the okay, sure sure sure. John Jones: 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 Justin Hamlin: Mm-hmm. John Jones: 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? Justin Hamlin: Okay, sure. John Jones: Um Justin Hamlin: At this stage we still have no no target audience or John Jones: I think the target audience is pretty much anybody under the age of say maybe sixty or something ludicrous. Justin Hamlin: 'Kay. John Jones: 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 Justin Hamlin: And it's stylish. John Jones: 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. Justin Hamlin: Mm-hmm. John Jones: Maybe even single, just for the reasons of um uh excess cash flow. Justin Hamlin: Mm. John Jones: Although of course I mean at twenty five Euros, I don't think we're looking at charging the earth for the uh device. Justin Hamlin: Yep. Jake Clark: Yeah. John Jones: Think that's Justin Hamlin: Okay. John Jones: 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 Justin Hamlin: Programmable John Jones: might have to be based Justin Hamlin: memory John Jones: on Justin Hamlin: as well. Francisco Ciciora: The U_S_B_ for which? Justin Hamlin: For the remote control. John Jones: The the idea was that maybe it could connect up for um allowing a software interface on the P_C_ Francisco Ciciora: Oh John Jones: for Francisco Ciciora: right, John Jones: a Francisco Ciciora: okay. John Jones: larger programming due to the fact that we've gone for such a nice, easy minimal design, normally. Justin Hamlin: We've w John Jones: Um. Justin Hamlin: definitely talking some type of Francisco Ciciora: But didn't they just say it's just for T_V_, or are we gonna John Jones: It's just for T_V_, but for Justin Hamlin: Different. John Jones: programming it to use your T_V_, you Francisco Ciciora: Okay, John Jones: might hook Francisco Ciciora: yeah. John Jones: 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. Jake Clark: Mm. John Jones: We don't know unless it would make sense to. Justin Hamlin: But Jake Clark: Yeah, Justin Hamlin: you're Jake Clark: I mean Justin Hamlin: gonna Jake Clark: it's Justin Hamlin: need some type of flash memory or something. Well something that doesn't you Jake Clark: Yeah. Justin Hamlin: wouldn't have to redo the whole thing once the batteries are changed, you know, once Jake Clark: Yeah. Justin Hamlin: you turn off the power. Jake Clark: 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 Justin Hamlin: Yeah. Jake Clark: 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 Justin Hamlin: Different Jake Clark: uh Justin Hamlin: languages, uh different skins John Jones: Mm-hmm. Justin Hamlin: and stuff like Jake Clark: Mm-hmm. Justin Hamlin: that. John Jones: W Jake Clark: 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. Justin Hamlin: Sure. I Jake Clark: That sort Justin Hamlin: if Jake Clark: of Justin Hamlin: it Jake Clark: thing. Justin Hamlin: was customisable as in different languages and stuff, that does open it is supposed to be international, right? So. John Jones: It would make sense to. Justin Hamlin: It would make sense John Jones: I would Justin Hamlin: if John Jones: say Justin Hamlin: you could John Jones: to. Um and we'd better be careful about the time as well. Justin Hamlin: Okay. John Jones: 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 Jake Clark: Yeah. John Jones: like we're gonna need a maybe a kind of prototype in clay. Uh we'll see how that goes. Um. Jake Clark: Are we going to be supplied with the clay is what I want to know. Where is the clay? John Jones: So um do I think we've got an idea of where we need to go for the next meeting, would you say? Justin Hamlin: Yeah. Jake Clark: Mm-hmm. Francisco Ciciora: they're going with the fashion thing, like Justin Hamlin: The fruit and Francisco Ciciora: the Justin Hamlin: veg. Francisco Ciciora: design, spongy Justin Hamlin: This one. Francisco Ciciora: rubber. Yeah. Jake Clark: Mm. John Jones: Yeah, I would s that would be my Jake Clark: I John Jones: my Jake Clark: th John Jones: feeling. Jake Clark: 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. John Jones: We Justin Hamlin: Yeah. John Jones: seem to have quite a general consensus that the idea of the the r rubber could be quite Justin Hamlin: Yeah. Jake Clark: 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. Justin Hamlin: Yeah. Jake Clark: and again this has the advantage of being harder to lose. Justin Hamlin: Sure. I mean we are trying to promote a remote control, but we wanna keep the company brand as well, so. Jake Clark: Mm-hmm. John Jones: 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 Jake Clark: Mm. John Jones: be used. Jake Clark: Yeah. John Jones: Um. Jake Clark: I was like like I said before I I think we should have the R_R_ on the uh on the top function button. John Jones: Okay. And I think that says it all really. Justin Hamlin: I think so too. John Jones: Right. See Justin Hamlin: Sa John Jones: everybody in a half hour.

John Jones recapped the decisions made in the previous meeting. Francisco Ciciora presented options for batteries, materials and shapes to use for the case, buttons, and chips. Jake Clark 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. Justin Hamlin 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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Charles Sand: Hmm hmm hmm. Gregorio Holsapple: Are we we're not allowed to dim the lights so people can see that a bit better? Charles Sand: Yeah. Gregorio Holsapple: Okay, that's fine. Am I supposed to be standing up there? David Powell: So Gregorio Holsapple: Okay. David Powell: we've got both of these clipped on? She gonna answer David Powell Gregorio Holsapple: Yeah, David Powell: or not? Gregorio Holsapple: I've got David Powell: Right, both of them, okay. Gregorio Holsapple: Yes. David Powell: God. Jesus, it's gonna fall off. Charles Sand: Okay Yep yep, Okay. Gregorio Holsapple: Okay. Charles Sand: Tu tu tu tu Gregorio Holsapple: Hello everybody. Charles Sand: Hi, good morning. Gregorio Holsapple: Um I'm Sarah, Gregorio Holsapple and this is our first meeting, surprisingly enough. Okay, this is our agenda, um we will do some stuff, get to know each other a bit better to feel more comfortable with each other. Um then we'll go do tool training, talk about the project plan, discuss our own ideas and everything um and we've got twenty five minutes to do that, as far as I can understand. Now, we're developing a remote control which you probably already know. Um, we want it to be original, something that's uh people haven't thought of, that's not out in the shops, um, trendy, appealing to a wide market, but you know, not a hunk of metal, and user-friendly, grannies to kids, maybe even pooches should be able to use it. Okay, um, first is the functional design, um this is where we all go off and do our individual work, um what needs need to be fulfilled by the product, um what effects the product has to have and how it's actually going to do that. Um, conceptual design, what we're thinking, how it's gonna go and then the detailed design, how we're actually gonna put it into practice and make it work. Charles Sand: 'Kay. Gregorio Holsapple: Okay, right. We're gonna practice with the pens and draw our favourite animal on the white board, I'll go first, and um sum up the characteristics of that animal. So Charles Sand: Oops. Gregorio Holsapple: Okay, I'll leave space for everyone else. Um Gregorio Holsapple: What's missing? Gregorio Holsapple: We're running out of blue. Okay. I'm not gonna ask you to guess, I'm going to tell you that's supposed to be a tiger. Charles Sand: Mm. Gregorio Holsapple: And I see them Charles Sand: Oh Gregorio Holsapple: as Charles Sand: sorry. Gregorio Holsapple: majestic, Charles Sand: Mm-hmm. Gregorio Holsapple: and independent, and proud. Now, who would like to go next? Charles Sand: Yeah, David Powell. Gregorio Holsapple: 'Kay. Charles Sand: Cat. Where did this come from? Gregorio Holsapple: Is that your lapel then? Charles Sand: Uh, Gregorio Holsapple: There you go. Charles Sand: yep. Thank you. Uh, maybe you can guess what I'm trying to make? David Powell: A kind of dog? Charles Sand: Yep. It's actually sitting, so David Powell: Sorry? John Hinkley: It's sitting Charles Sand: it's sitting, John Hinkley: down. Charles Sand: it's not standing. David Powell: Uh. Charles Sand: Okay, I see it as one thing it's very supportive. It's your best friend your you can talk to a dog, it can be your best friend, it doesn't discriminate between you, based on what you are. Second it's loyal and third thing it's got intuition. dogs can som sometimes can make out between a thief and a David Powell: Mm-hmm. Charles Sand: person so basically these are the three unique features I think belong to a dog. Gregorio Holsapple: Okay, thank you. Charles Sand: Thank you. John Hinkley: Yeah I'll Charles Sand: Okay. John Hinkley: have a go. Charles Sand: Sorry. David Powell: Please, please John Hinkley: Thanks. David Powell: leave David Powell a space at the bottom, I'm little, John Hinkley: Alright, David Powell: you can get to John Hinkley: okay. David Powell: the top, with standing on a chair. John Hinkley: Well since you guys have chosen the ones I wanted to do, I'll have Gregorio Holsapple: Okay. John Hinkley: to have to Charles Sand: Does John Hinkley: go Charles Sand: it John Hinkley: for Charles Sand: look John Hinkley: something Charles Sand: like a dog John Hinkley: a bit Charles Sand: actually? John Hinkley: random. And also, my drawing skill isn't that great Gregorio Holsapple: Well, John Hinkley: so, Gregorio Holsapple: as you can see, the quality John Hinkley: yeah. Charles Sand: Mm. Gregorio Holsapple: of the work today is um David Powell: I think it's outstandingly good. John Hinkley: Okay, now I'm gonna have to change what is was originally gonna be because that looks like a beak now, so. David Powell: Crocodile? Gregorio Holsapple: Gonna be John Hinkley: Yeah, Gregorio Holsapple: a John Hinkley: it Gregorio Holsapple: bird. John Hinkley: can be a crocodile, it can be Gregorio Holsapple: Is John Hinkley: a Gregorio Holsapple: it John Hinkley: crocodile. Gregorio Holsapple: gonna be it's John Hinkley: an Gregorio Holsapple: gonna John Hinkley: at Gregorio Holsapple: be John Hinkley: first Gregorio Holsapple: a bird. John Hinkley: firstly it was an attempt at a T_ Rex and then it sort David Powell: O John Hinkley: of changed into a pelican but it can be a crocodile now actually. Gregorio Holsapple: That's lovely. John Hinkley: Yeah David Powell: Beauti John Hinkley: and David Powell: that's John Hinkley: uh I'll have to think on the spot of uh things that it is. Um uh scary, uh strong, yeah that's about it I think. Gregorio Holsapple: Okay it's fine. David Powell: Okay. Um, I'm very impressed your artistic skills, John Hinkley: Uh David Powell: mine's are dreadful. John Hinkley: uh David Powell: Oops this is now coming apart, let David Powell just put the top in. John Hinkley: Wo David Powell: I hope that clicks in, I'll just I'll hold it on, okay. Oops, oh dear, what happened there? Gregorio Holsapple: Technical help. David Powell: Hopefully John Hinkley: Hmm. David Powell: that'll stay on, two-handed version. John Hinkley: Okay. David Powell: Okay, uh Again this is off the top of my head, I was gonna do a big John Hinkley: Uh David Powell: cat too, um. Oh Gregorio Holsapple: Hmm. David Powell: dear, it doesn't look what like what I want it to be. John Hinkley: S David Powell: Uh. John Hinkley: Uh David Powell: It's not a vampire bat honestly. Gregorio Holsapple: Okay, yeah. David Powell: Uh and somewhere there's a body behind. John Hinkley: Okay, David Powell: That's John Hinkley: some David Powell: my dreadful John Hinkley: sort of David Powell: that's the worst yet, John Hinkley: bird. David Powell: that's it's meant to be an eagle Gregorio Holsapple: A seagu John Hinkley: Ah Charles Sand: Eagle, Gregorio Holsapple: right, John Hinkley: eagle, Charles Sand: okay. John Hinkley: right Gregorio Holsapple: not David Powell: you John Hinkley: okay. David Powell: can Gregorio Holsapple: a seagull. David Powell: tell it's a flying animal could have been a seagull, I never thought of a seagull. An eagle, um again I'm thinking on my feet goodness. I suppose they're all so independent, I'd put that one down again. Da dum um. John Hinkley: They're good at golf. David Powell: Indepen independent, right, did you say they're good at golf? John Hinkley: Yeah, David Powell: Are they? John Hinkley: no yeah, Gregorio Holsapple: Eagle. David Powell: Oh. John Hinkley: an eagle. David Powell: Oh right, okay, I'm not good at golf. I'd say they're quite free-spirited, flying around everywhere, doing their own thing. And uh, birds of prey aren't they, oh dear, Gregorio Holsapple: Mm-hmm. David Powell: intrepid. I'll put that, intrepid. There we go, Gregorio Holsapple: That's David Powell: hope Gregorio Holsapple: lovely. David Powell: that pen's gonna be okay. Whoops. Gregorio Holsapple: Okay. That was fun, right. Um finance-wise, we've got a selling price at twenty five Euros, which I don't actually know what that is in Pounds, at all. Any ideas? John Hinkley: It's about David Powell: Seventeen. John Hinkley: mm, Charles Sand: One point four John Hinkley: mm yeah. Charles Sand: or something like that. One point four Euro would make a Pound or something John Hinkley: Yeah, Charles Sand: like that. John Hinkley: yeah, something like that, so Charles Sand: Yeah. John Hinkley: that Gregorio Holsapple: D John Hinkley: yeah about seventeen, Gregorio Holsapple: fifteen? David Powell: Seventeen Gregorio Holsapple: Seventeen. John Hinkley: seventeen David Powell: Pounds. John Hinkley: Pounds, Gregorio Holsapple: Okay, John Hinkley: something like that. Gregorio Holsapple: that's expensive. David Powell: Should we be making notes of this? We can just refer to this later can't John Hinkley: But Gregorio Holsapple: I David Powell: we? Gregorio Holsapple: think so, David Powell: Yeah, Gregorio Holsapple: I think David Powell: okay. Gregorio Holsapple: so, I'll be able to um pull it up, or David Powell: Okay. Gregorio Holsapple: I could put it John Hinkley: Havi Gregorio Holsapple: in the shared folder or John Hinkley: having Gregorio Holsapple: something. John Hinkley: said that though, if you wanna get one of those the the ones on the market at the moment they're s they're about twenty pounds anyway. So, David Powell: Right. Gregorio Holsapple: Really? John Hinkley: it'd still be yeah, we had to David Powell: So John Hinkley: buy one. Gregorio Holsapple: Mm. David Powell: so Gregorio Holsapple: I David Powell: I suppose Gregorio Holsapple: think David Powell: later it depends if we want to undercut the price, we d or or is it going to make our product look a cheapie-cheapie option? Gregorio Holsapple: Yeah, John Hinkley: Hmm. Gregorio Holsapple: um production cost's at twelve fifty, so Charles Sand: Okay, pretty huge margin. Gregorio Holsapple: half of the selling price is John Hinkley: Yeah. Gregorio Holsapple: taken David Powell: Mm. Gregorio Holsapple: up by building it. David Powell: Mm-hmm. Gregorio Holsapple: Um, and profit aim is fifty million Euros, which is uh David Powell: In our first year? Gregorio Holsapple: Yi yes, um yeah, I presume so. David Powell: Mm-hmm. Charles Sand: So Gregorio Holsapple: Um Charles Sand: then David Powell: You've got market range international and you did say earlier it's got to be a um accessible and usable by sort of all age groups Gregorio Holsapple: Mm-hmm. David Powell: just t we're not focusing on business market, any particular thing, it's Gregorio Holsapple: No, David Powell: everyone user-friendly Gregorio Holsapple: yeah. David Powell: to everyone. Okay. Big Gregorio Holsapple: So David Powell: target group. Gregorio Holsapple: yes, yes, I don't think we have to I don't think it's a case of worrying about different languages and things like that, David Powell: No. Gregorio Holsapple: um making that a key point, just that it's going to be in the international market like David Powell: Mm. Gregorio Holsapple: Australia, America, things like that. Okay. What are your experiences with remote controls? I mean I've got we got um we had three videos, a T_V_ and a sort of amp thing all Charles Sand: Mm-hmm. Gregorio Holsapple: set up John Hinkley: Yeah. Gregorio Holsapple: so we got one of the universal remote controls, David Powell: Alright. John Hinkley: Yeah. Charles Sand: Yeah, Gregorio Holsapple: um Charles Sand: that c Gregorio Holsapple: that you programme each of your things into, but that kept losing the signals so we'd have to re-programme it every now and again. I think it was quite a cheapie as well, David Powell: Mm-hmm. John Hinkley: Yeah Gregorio Holsapple: so John Hinkley: uh. Gregorio Holsapple: that might have had something to do with it, but that was quite good, the fact that you could John Hinkley: Use all the ones Gregorio Holsapple: You didn't John Hinkley: at the same Gregorio Holsapple: have John Hinkley: time. Gregorio Holsapple: six remote controls sitting David Powell: Right. Gregorio Holsapple: in front of Charles Sand: Okay, Gregorio Holsapple: you. Charles Sand: you wanna integrate everything into one like John Hinkley: Yeah, David Powell: Mm-hmm. Charles Sand: Okay. John Hinkley: 'cause David Powell: My John Hinkley: you David Powell: experience has only been being given the remote control with the object I buy, not doing any tampering with it and programming, using it to programme T_V_ and uh uh videos and things. But basically on, off, volume up and down, channel one, two, th that basic functions, Gregorio Holsapple: Mm. David Powell: I don't think I could go any further with it than that, so, I suppose it's got to be something usable by someone like David Powell as well. Gregorio Holsapple: Yeah, the main that's the main stuff anyway, David Powell: Mm-hmm. Gregorio Holsapple: I mean and you don't want to I hate I hate looking at a control and seeing a million tiny little buttons with tiny little words David Powell: Mm. Gregorio Holsapple: saying what they all do and just John Hinkley: Yeah. Gregorio Holsapple: sitting there searching for the teletext David Powell: Mm. Gregorio Holsapple: button or David Powell: And Gregorio Holsapple: something David Powell: symbols Gregorio Holsapple: like that. David Powell: that you don't necessarily Gregorio Holsapple: Yeah. David Powell: understand, symbols you're meant to understand that you don't. Charles Sand: So simplification Gregorio Holsapple: Um. Charles Sand: of symbols you could think Gregorio Holsapple: When Charles Sand: of. Gregorio Holsapple: they're when you've got the main things on the front of it and a section opens up or something to the other functions where you can do sound or options David Powell: Oh yeah. Gregorio Holsapple: kind of recording, things like that inside it. David Powell: Mm-hmm. Gregorio Holsapple: 'Cause it doesn't make when you pick it up it doesn't make it really complicated to David Powell: Mm. Gregorio Holsapple: look at, it's obvious David Powell: Mm-hmm. Gregorio Holsapple: what John Hinkley: Mm. Gregorio Holsapple: you're doing, um. David Powell: Actually that just raises a point, I wonder what our design people think, but you know on a mobile phone, Charles Sand: Mm-hmm. David Powell: you can press a key and it gives you a menu, it's Charles Sand: Menu, David Powell: got a menu Charles Sand: alright. David Powell: display, I wonder if incorporating that into the design of a remote control might be useful, John Hinkley: Yeah. David Powell: so you've got a little Charles Sand: Uh David Powell: L_C_D_ Charles Sand: uh David Powell: display. Charles Sand: Right, I was thinking on the same lines you, instead of having too many b buttons and make it complicated for the user, may h maybe have an L_C_D_ di display or something like that, like a mobile, David Powell: With menus, Charles Sand: yeah and with David Powell: yeah, Charles Sand: menus. David Powell: yeah. Charles Sand: And if it's s somewhat similar to what you have on mobile phone, people might find it easier to browse and navigate also David Powell: Yeah. Charles Sand: maybe. Gregorio Holsapple: What about the older generation? What about granny and grandads? Um, Charles Sand: You mean to save it lesser Gregorio Holsapple: my grandad Charles Sand: number. Gregorio Holsapple: can answer his mobile phone, but John Hinkley: Yeah. Gregorio Holsapple: he couldn't even dream David Powell: Mm-hmm. Gregorio Holsapple: of texting or something David Powell: Mm-hmm. Gregorio Holsapple: like that. David Powell: Can he programme his remote control or is it basic Charles Sand: Right. David Powell: with that too? Gregorio Holsapple: I don't think they tape things, John Hinkley: Yeah, Gregorio Holsapple: I David Powell: Right. Gregorio Holsapple: don't think John Hinkley: my Gregorio Holsapple: they John Hinkley: grandad's Gregorio Holsapple: use John Hinkley: actually better than David Powell at using teletext, so. David Powell: Right. So that's a problem regardless of of any design modifications you you come up with, John Hinkley: Yeah. David Powell: that's gonna be a problem anyway with the older generation Gregorio Holsapple: Mm, yeah, David Powell: perhaps, Gregorio Holsapple: the David Powell: and Gregorio Holsapple: age David Powell: that's another Gregorio Holsapple: gap. David Powell: issue John Hinkley: Yeah, David Powell: how we tackle that. John Hinkley: what it just needs to be as long as it's sort of self-intuitive and you can can work out what everything's doing, 'cause I mean, menus on sort of new phones now they've sort of got all these pictures and stuff which makes it fairly obvious what you're trying to do. Gregorio Holsapple: Mm. Charles Sand: Mm-hmm. John Hinkley: But Gregorio Holsapple: I John Hinkley: I Gregorio Holsapple: d John Hinkley: don't know how Gregorio Holsapple: I don't like the, you know the new phones that have kind of got a Windows-based John Hinkley: Oh yeah. Gregorio Holsapple: running system. David Powell: Mm-hmm. Gregorio Holsapple: I find it really confusing, I kept getting lost in the phone, I di I've not got a new one but uh my David Powell: Right. Gregorio Holsapple: friend got a new one and I was trying to do things with it and I just kept getting lost, but that's just David Powell. John Hinkley: Yeah, I don't I don't know how for twenty fi, or twelve Euros fifty how much of a excellent screen you could get, Gregorio Holsapple: Yeah. John Hinkley: you'd you'd have to sort of keep David Powell: Mm-hmm. John Hinkley: it down to a black and white L_C_D_ thing anyway, David Powell: Is John Hinkley: I'd David Powell: it possible John Hinkley: assume. David Powell: that that for the older generation you could have like an extra button that you press for large print like you do in large print books? Charles Sand: Okay. David Powell: Obviously Gregorio Holsapple: Teletext David Powell: it displays Gregorio Holsapple: has got that David Powell: less Gregorio Holsapple: option David Powell: on Gregorio Holsapple: as David Powell: the Gregorio Holsapple: well. David Powell: screen, it displays less on the screen but as long as they can read it that's the main thing. Gregorio Holsapple: Yeah. Or what about kind of a dual function? In that you've got the basic buttons just for your play, volume, programme things David Powell: Mm-hmm. Gregorio Holsapple: and also and then a menu to go into with obvious pictures, obvious symbols and David Powell: Yeah. Gregorio Holsapple: that's where you control David Powell: Mm-hmm. Gregorio Holsapple: recording and things like that. David Powell: Mm. The other thing is, just ch chucking into mobile phone f design features again, it could have a flip top remote control so that when you flip over the top, your screen is you can have a bigger screen in Gregorio Holsapple: Mm-hmm. David Powell: the Charles Sand: Mm, okay. David Powell: the flip over. Gregorio Holsapple: I think Charles Sand: S Gregorio Holsapple: that's a cost thing, John Hinkley: Y Gregorio Holsapple: I don't Charles Sand: It Gregorio Holsapple: I David Powell: Yeah? Charles Sand: might Gregorio Holsapple: don't know how much we're gonna know about Charles Sand: it might save a b bit of space, it's i instead David Powell: Mm-hmm. Charles Sand: of looking bulky, it might look Gregorio Holsapple: Yes, Charles Sand: small. Gregorio Holsapple: no David Powell: Yeah, Gregorio Holsapple: that's important. John Hinkley: Yeah. Charles Sand: But it might have David Powell: like Charles Sand: its David Powell: smaller. Charles Sand: cost implications. Gregorio Holsapple: Okay. David Powell: And there's no reason we need to make it look as fashionable and stylish as a mobile phone, it can still be lightweight plastic, Gregorio Holsapple: Mm. David Powell: you know? Charles Sand: Right. David Powell: Something that's easily moulded and produced. Gregorio Holsapple: Yeah. David Powell: Sorry I'm treading on your territory guys. John Hinkley: No uh uh Gregorio Holsapple: Um, right, okay we've got half an hour before the next meeting, so we're all gonna go off and do our individual things. Um I think that's probably about it and then we'll come back and liaise again John Hinkley: Yeah. Gregorio Holsapple: and I get to do another fantastic PowerPoint presentation. John Hinkley: Just just a quick thing about Gregorio Holsapple: Sure. John Hinkley: the um about what you're saying about the uh does does it need to be fashionable? The sort of I I had a quick look at the company website and it's like the the uh we put the fashion into electronics, David Powell: Ah John Hinkley: so David Powell: right. John Hinkley: I think Charles Sand: Okay. Gregorio Holsapple: Okay. John Hinkley: think the David Powell: Okay. John Hinkley: whole design thing might be qui David Powell: Sure John Hinkley: I mean David Powell: b John Hinkley: you don't you David Powell: y yeah. John Hinkley: you can still have plastic and it'd look quite David Powell: But John Hinkley: good but David Powell: yeah, I mean it doesn't have to be that, you know th that was my main point, John Hinkley: Yeah. David Powell: we don't have to use metal, I don't know if using Gregorio Holsapple: Mm. David Powell: plastic does make it cheaper, I presume it would. John Hinkley: Yeah. David Powell: Yeah, Gregorio Holsapple: I would John Hinkley: Yeah. Gregorio Holsapple: it David Powell: yeah, Gregorio Holsapple: would probably. David Powell: yeah. Gregorio Holsapple: I mean there's Sky remote controls and everything. They're kind of moulded and look a bit different, and the Telewest remote controls are silver plastic, which David Powell: Right. Gregorio Holsapple: looks a bit smarter, so yeah I guess that's stuff we can think David Powell: Okay. Gregorio Holsapple: about. Okay, so let's break it up there. David Powell: 'Kay. Gregorio Holsapple: Okay? John Hinkley: Okay. Gregorio Holsapple: So, see you in half an hour. David Powell: back to our room? Gregorio Holsapple: I think Charles Sand: Mm, Gregorio Holsapple: so, Charles Sand: yeah. David Powell: Yep? Gregorio Holsapple: yeah.

Gregorio Holsapple gave an introduction to the goal of the project, to create a trendy yet user-friendly remote. She presented a long-range agenda for the whole project. The group introduced themselves to each other and practiced with the meeting room tools by drawing on the board. Gregorio Holsapple presented the project budget, the projected price point, and the projected profit aim for the project. Then the group began a discussion about their own experiences with remote controls to generate initial design ideas for making the product user-friendly. They discussed grouping features into a menu and adding an LCD display. They also discussed the look of various materials that may be used in the design, in keeping with the company's goal to create fashionable electronics.

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Roger Mays: Help. It's up there? That screen's black. Roger Mays: Alright, okay. Okay, that's fine. Anthony Garcia: Oh God. Roger Mays: Are we done? Roger Mays: 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? Anthony Garcia: Uh, no that's okay, sorry. Roger Mays: Okay, um I'll go over what we decided last meeting, Johnny Richardson: Mm-hmm. Roger Mays: um, we decided upon a universal control, one handset for all, T_V_, video equipment. Johnny Richardson: Sorry. Roger Mays: 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? Anthony Garcia: Um is it okay if I postpone that til later, I just want to get access to a little bit more information, Roger Mays: No Anthony Garcia: is that Roger Mays: that's Anthony Garcia: okay? Roger Mays: fine, that's fine. Justin Dicostanzo: Okay, yeah I'll go first Can. I grab the Roger Mays: Unplug Anthony Garcia. Justin Dicostanzo: Thanks. Justin Dicostanzo: What do I have to press? Oh, F_ eight? Roger Mays: Um, F_N_ function F_ Justin Dicostanzo: Oh Roger Mays: eight. Justin Dicostanzo: right, yeah. Okay. Maybe Johnny Richardson: Yep. Justin Dicostanzo: Yep there we go. Okay this is uh the working design, presented by Anthony Garcia, 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 Anthony Garcia: Mm-hmm. Could Justin Dicostanzo: of the Anthony Garcia: I Justin Dicostanzo: control. Anthony Garcia: can I interject to ask a question Roger Mays: Mm-hmm. Justin Dicostanzo: Yeah Anthony Garcia: there, is Justin Dicostanzo: sure. Anthony Garcia: that appropriate? You're saying the triple A_ batteries are small or Justin Dicostanzo: Um Anthony Garcia: the Justin Dicostanzo: no no, Anthony Garcia: surrounding Justin Dicostanzo: if you Anthony Garcia: it? Justin Dicostanzo: if you look at if you look at most remote controls they're quite they're quite chunky and Anthony Garcia: Mm-hmm. Justin Dicostanzo: that's because of the size of the batteries, they have to be obviously this certain size to fit those Anthony Garcia: Right, Justin Dicostanzo: batteries Anthony Garcia: the triple Justin Dicostanzo: in. Anthony Garcia: A_s are the smallest you can Justin Dicostanzo: Yeah Anthony Garcia: get Justin Dicostanzo: the Anthony Garcia: are they not, Justin Dicostanzo: the Roger Mays: They Justin Dicostanzo: well Anthony Garcia: right? Roger Mays: are. Johnny Richardson: Okay. Justin Dicostanzo: you can you can get the sort of circular round ones Anthony Garcia: Oh Justin Dicostanzo: but I'm just Anthony Garcia: I see. Justin Dicostanzo: wondering about power consumption and how much you need to send Anthony Garcia: Okay. Justin Dicostanzo: 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 Anthony Garcia: Mm. Justin Dicostanzo: 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 Anthony Garcia: Mm. Justin Dicostanzo: thing that you could have, I th that was just sort of a general point there. Anthony Garcia: Mm. Justin Dicostanzo: And Anthony Garcia: That's Justin Dicostanzo: that's Anthony Garcia: a very important Justin Dicostanzo: uh Anthony Garcia: part, it came up Justin Dicostanzo: yeah. Anthony Garcia: in our market research findings too so I can refer to that, Justin Dicostanzo: Alright okay, Anthony Garcia: whenever you like Anthony Garcia to present. Justin Dicostanzo: and yeah, that's that's what I came up with there, so Roger Mays: Okay, Justin Dicostanzo: if Roger Mays: thank Justin Dicostanzo: you wanna Roger Mays: you very much. Um, would you like to continue Johnny Richardson: Yep Roger Mays: on from that? Justin Dicostanzo: Ooh. Johnny Richardson: 'Kay. Roger Mays: Or, Johnny Richardson: It can be Roger Mays: maybe move the laptop Johnny Richardson: okay, that's Roger Mays: over. Johnny Richardson: okay with Anthony Garcia. further. Johnny Richardson: Oops. Johnny Richardson: Why's it not working? F_ eight, right? Roger Mays: F_ function. Justin Dicostanzo: Function F_ eight yeah. Johnny Richardson: Okay. Mm Anthony Garcia: No. Johnny Richardson: why's it in the right? Anthony Garcia: The plug hasn't come out at the Johnny Richardson: Yeah, Anthony Garcia: bottom, Johnny Richardson: it's Anthony Garcia: has Johnny Richardson: connecting. Anthony Garcia: it? No. Justin Dicostanzo: No, no yeah it's just. Anthony Garcia: Meter adjusting. Roger Mays: Oh, there. Johnny Richardson: okay. Yeah. Actually mm some of my points might overlap with what William's Justin Dicostanzo: Yeah. Johnny Richardson: 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? Justin Dicostanzo: Yeah. Johnny Richardson: 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 Anthony Garcia 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 Justin Dicostanzo: Yeah. Johnny Richardson: 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. Anthony Garcia: Mm. Johnny Richardson: Uh any Roger Mays: 'Kay. Johnny Richardson: comments like, if you want? Roger Mays: Um, I think we'll chat about it at the end, Johnny Richardson: Okay. Roger Mays: okay so if anyone wants to write something down that they want to bring up at the end, Anthony Garcia: 'Kay. Justin Dicostanzo: Yeah sure. Roger Mays: um Ooh, it's vibrating, that's strange. Oh, God. Roger Mays: Right, okay. Anthony Garcia: Have I got Johnny Richardson: I Anthony Garcia: to keep Johnny Richardson: think Anthony Garcia: this Johnny Richardson: you'll Anthony Garcia: here? Johnny Richardson: have to You can't Anthony Garcia: Does it matter? Johnny Richardson: It'll have to this can't Anthony Garcia: I'll Johnny Richardson: be Anthony Garcia: have Johnny Richardson: pulled. Anthony Garcia: t I'll have to move Roger Mays: We just Anthony Garcia: it Roger Mays: do Anthony Garcia: won't Roger Mays: the best we Anthony Garcia: I? Roger Mays: can. Anthony Garcia: Uh, whoops. Johnny Richardson: You'll have to push it a bit more. Anthony Garcia: Will it manage? Bit more, oh Johnny Richardson: Yep. Anthony Garcia: dear. Johnny Richardson: Yeah this is more than enough. Justin Dicostanzo: There we go, Johnny Richardson: Okay. Justin Dicostanzo: I've got a bit more of the Anthony Garcia: Oh. Justin Dicostanzo: cable. we go. Anthony Garcia: Is that okay? Johnny Richardson: Yeah I think you can pull it out now. Anthony Garcia: Thank you, just pull it closer a little bit. Justin Dicostanzo: Uh you should be able to Roger Mays: Yeah, Justin Dicostanzo: and Roger Mays: you Anthony Garcia: Get Roger Mays: might. Anthony Garcia: it right Justin Dicostanzo: yeah, Anthony Garcia: over, Justin Dicostanzo: there Anthony Garcia: okay, Justin Dicostanzo: you Anthony Garcia: thank you. Roger Mays: Ah. Justin Dicostanzo: go. Roger Mays: Look at that. Anthony Garcia: 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 Johnny Richardson: Yeah. Anthony Garcia: 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 Johnny Richardson: 'Kay. Anthony Garcia: 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, Roger Mays: Okay. Anthony Garcia: is that Justin Dicostanzo: Okay. Anthony Garcia: okay? Roger Mays: Yeah. Johnny Richardson: That's fine. Roger Mays: Right, Justin Dicostanzo: Huh. Roger Mays: um we have new project requirements, um we're not going to be using teletext, Johnny Richardson: Okay. Roger Mays: 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 Johnny Richardson: Mm-hmm. Roger Mays: also makes it easier to understand Anthony Garcia: Mm-hmm, Roger Mays: for Anthony Garcia: so Roger Mays: the Anthony Garcia: can we not Roger Mays: consumer. Anthony Garcia: programme a video with this remote control? Roger Mays: It says for T_V_ only, so looks like it's Anthony Garcia: Just Roger Mays: just Anthony Garcia: channel-hopping. Roger Mays: 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. Anthony Garcia: Would Roger Mays: But Anthony Garcia: that Roger Mays: I mean, Anthony Garcia: imply Roger Mays: general Anthony Garcia: video Roger Mays: T_V_ Anthony Garcia: use? Roger Mays: controls Justin Dicostanzo: T yeah yeah. Roger Mays: do do video as well. Justin Dicostanzo: I d well I dunno Roger Mays: I mean you Justin Dicostanzo: 'cause Roger Mays: bu Justin Dicostanzo: uh Roger Mays: well Justin Dicostanzo: the Roger Mays: som Justin Dicostanzo: w if Roger Mays: you Justin Dicostanzo: you've Roger Mays: get Justin Dicostanzo: g Roger Mays: com you get combined T_V_ and videos don't Justin Dicostanzo: Yeah. Roger Mays: you? Anthony Garcia: Mm-hmm, Justin Dicostanzo: If yeah and if Anthony Garcia: yes. Justin Dicostanzo: you got if you got a Sky box, they have one of those plus boxes, you can record straight off the T_V_ anyway Roger Mays: Mm. Justin Dicostanzo: so on to on to like the T_V_ hard drive or so. Roger Mays: I think we assume that it's still got play and stop functions and Anthony Garcia: Yes. Roger Mays: programming. Justin Dicostanzo: Yeah. Johnny Richardson: Anything about that on the market research or something like regarding whether people want a combined something like that? Anthony Garcia: Um we didn't really look into that but remember we found that finding that most people only use about uh Roger Mays: Mm. Johnny Richardson: Ten Anthony Garcia: ten Johnny Richardson: perc Anthony Garcia: percent of the buttons, Johnny Richardson: Mm-hmm. Anthony Garcia: I think th th those do tend to be the basic channel-hopping things and Justin Dicostanzo: Yeah. Anthony Garcia: 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. Johnny Richardson: Okay. Roger Mays: Hmm. Anthony Garcia: So I. Justin Dicostanzo: Ju um just as an idea on the uh speech recognition thing Anthony Garcia: Mm-hmm. Justin Dicostanzo: that pr it'd probably be quite expensive Johnny Richardson: Pens Justin Dicostanzo: to incorporate an entire speech recognition thing and they're not that great Anthony Garcia: In fact Justin Dicostanzo: anyway. Anthony Garcia: I've just called up that table there, Justin Dicostanzo: Alright, okay. Anthony Garcia: 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 Justin Dicostanzo: Alright, Anthony Garcia: more for Justin Dicostanzo: okay. Anthony Garcia: speech recognition in a remote control? So you can see how the the yes no sort Roger Mays: Mm-hmm. Anthony Garcia: of varies Justin Dicostanzo: Yeah. Anthony Garcia: 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. Roger Mays: Yeah, Justin Dicostanzo: Yeah Johnny Richardson: Mm-hmm. Justin Dicostanzo: but um Roger Mays: bu Justin Dicostanzo: on on that again I just thought 'cause you can get those key chains now and you whistle and then it'll Anthony Garcia: Oh Justin Dicostanzo: let Anthony Garcia: yeah. Justin Dicostanzo: off a loud noise to let you know where it is Anthony Garcia: Right. Justin Dicostanzo: so I thought that could be quite a Roger Mays: 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 Anthony Garcia: Mm. Roger Mays: 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 Justin Dicostanzo: Yeah. Roger Mays: saying whistling, Justin Dicostanzo: Yeah. Roger Mays: 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 Anthony Garcia: Yes. Roger Mays: you're Justin Dicostanzo: Yeah. Roger Mays: like oh Johnny Richardson: Okay. Roger Mays: okay it's over there, Anthony Garcia: That's Roger Mays: something Anthony Garcia: a super idea. Roger Mays: like that, but Justin Dicostanzo: Hmm. Roger Mays: that's that sounds a lot cheaper to Anthony Garcia. Justin Dicostanzo: Yeah. Anthony Garcia: Yeah. Roger Mays: 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. Anthony Garcia: 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 Roger Mays: Yeah. Anthony Garcia: 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, Roger Mays: Mm. Anthony Garcia: 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 Justin Dicostanzo: Yeah. Anthony Garcia: you know fashionable aspect of it we might have to change for different markets round the world. Roger Mays: Yeah. Johnny Richardson: So are we talking of a single model or maybe five, six designs? Sure. Justin Dicostanzo: Well y yeah you could you could have a number of different designs Johnny Richardson: Alright. Justin Dicostanzo: I mean inside they'd be essentially exactly the same. Johnny Richardson: Right. Roger Mays: Mm-hmm. Justin Dicostanzo: Just Johnny Richardson: The features Anthony Garcia: Yeah. Johnny Richardson: could be same and the body could look Justin Dicostanzo: yeah, Johnny Richardson: slightly different. Anthony Garcia: Mm. Justin Dicostanzo: yeah. Johnny Richardson: So Roger Mays: What about you were talking about the buttons, Johnny Richardson: Yeah. Roger Mays: 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, Justin Dicostanzo: 'Kay. Roger Mays: what about um you know with the touch screen Justin Dicostanzo: Yeah, Roger Mays: computers Justin Dicostanzo: yeah that's what I was just Roger Mays: yeah? Justin Dicostanzo: yeah. Roger Mays: 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 Justin Dicostanzo: No, Roger Mays: sure about Justin Dicostanzo: well no Roger Mays: the Justin Dicostanzo: 'cause you wouldn't have to you don't actually Roger Mays: You Justin Dicostanzo: have Roger Mays: don't Justin Dicostanzo: to press Roger Mays: have to press Justin Dicostanzo: them you Roger Mays: it, Justin Dicostanzo: just Roger Mays: you just have to put your thumb onto it. Justin Dicostanzo: Yeah. Roger Mays: Um, think that might appeal I'm thinking kind of Japan, I'm thinking uh young, um Anthony Garcia: Mm. Roger Mays: office people, Anthony Garcia: Mm-hmm. Roger Mays: trendy Justin Dicostanzo: Yeah. Roger Mays: kind Anthony Garcia: Yes Roger Mays: of a thing. Anthony Garcia: it will appeal to sections of the market Roger Mays: Um, Anthony Garcia: def Roger Mays: but quite, um, easily labelled so that anyone can oh yeah that's obvious what that's for Anthony Garcia: Mm-hmm. Roger Mays: and it's not daunting to maybe the older Anthony Garcia: Mm-hmm, Roger Mays: generations, Justin Dicostanzo: Mm. Anthony Garcia: mm. Justin Dicostanzo: But Roger Mays: um Justin Dicostanzo: 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 Roger Mays: Were too Justin Dicostanzo: was Roger Mays: big. Justin Dicostanzo: physically to big because um they're c uh just generally Japanese people have smaller hands Roger Mays: Mm. Justin Dicostanzo: 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. Johnny Richardson: 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. Justin Dicostanzo: Yeah. Yeah. Johnny Richardson: 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. Anthony Garcia: Mm-hmm. Johnny Richardson: Maybe for U_S_ and all you can have a slightly bigger remote Justin Dicostanzo: Yeah. Johnny Richardson: control and maybe in Japan and all you need to have a small, Justin Dicostanzo: Hmm. Johnny Richardson: yeah. Roger Mays: I think we have to design Justin Dicostanzo: Huh. Roger Mays: one product Justin Dicostanzo: Yeah. Roger Mays: and then the company can take it wherever they want to uh Justin Dicostanzo: Yeah. Roger Mays: the features slightly, Anthony Garcia: Mm-hmm. Johnny Richardson: Mm-hmm. Roger Mays: um. Anthony Garcia: Th the internal d engineering design has got to remain the same, Roger Mays: It's Anthony Garcia: yes, Roger Mays: gonna be the same, Anthony Garcia: absolutely. Roger Mays: so we need to focus on just one thing, Justin Dicostanzo: Yeah. Anthony Garcia: Mm-hmm. Roger Mays: not get bogged down in lots of different um possibilities, Anthony Garcia: Mm-hmm. Roger Mays: um. Anthony Garcia: 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, Justin Dicostanzo: Yeah. Anthony Garcia: 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 Justin Dicostanzo: Yeah. Anthony Garcia: have to be postponed to a future meeting but it's something we should think about. Justin Dicostanzo: I yeah I was just thinking about how you could combat that 'cause Anthony Garcia: Mm. Justin Dicostanzo: without without doing something where you have to move your arm Anthony Garcia: I Justin Dicostanzo: around Anthony Garcia: know, and it Justin Dicostanzo: to Anthony Garcia: becomes Justin Dicostanzo: change the Anthony Garcia: ridiculous, Justin Dicostanzo: channel and it Anthony Garcia: yes Justin Dicostanzo: becomes yeah. Roger Mays: Or Anthony Garcia: I know. Roger Mays: a speech recognition, Justin Dicostanzo: Yeah, Anthony Garcia: Yeah. Justin Dicostanzo: speech recognition, Roger Mays: which Justin Dicostanzo: but Roger Mays: is extremely expensive, Justin Dicostanzo: yeah. Roger Mays: I Anthony Garcia: Yes. Roger Mays: think that's the only way that you kind of avoid Anthony Garcia: Mm-hmm. Roger Mays: that kind of issue. Anthony Garcia: 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? Justin Dicostanzo: Mm. Johnny Richardson: We Anthony Garcia: Um. Johnny Richardson: could focus on the biggest market. Anthony Garcia: Mm. Justin Dicostanzo: Ge Johnny Richardson: If say Justin Dicostanzo: uh Johnny Richardson: people between age group of twenty to thirty five are Anthony Garcia: And when Johnny Richardson: the biggest Anthony Garcia: we've been throwing Johnny Richardson: market? Anthony Garcia: up our ideas we're automatically talking about business people, young people, trendy people. Roger Mays: 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. Anthony Garcia: Mm. Roger Mays: Now with the baby boomers, the older generations are actually larger, they have a greater population Justin Dicostanzo: Yeah. Roger Mays: than us young Johnny Richardson: Mm-hmm. Roger Mays: people, Anthony Garcia: Mm-hmm. Roger Mays: but I don't think we're focusing on that, I think we are focusing on a sort of mid-range Anthony Garcia: Mm. Roger Mays: um, business kind of class type Anthony Garcia: Mm. Roger Mays: people. Anthony Garcia: 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 Roger Mays: Mm-hmm. Anthony Garcia: 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. Roger Mays: Okay, so the remote control functions. Um we've got the T_V_, Johnny Richardson: Mm-hmm. Roger Mays: 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, Justin Dicostanzo: Video plus. Roger Mays: yes. We could use that as an alternative to programming in times, things like that, Justin Dicostanzo: Yeah Roger Mays: is Justin Dicostanzo: yeah. Roger Mays: that I always found that really easy when I discovered Anthony Garcia: Mm. Roger Mays: it, Johnny Richardson: Mm-hmm. Roger Mays: 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 Justin Dicostanzo: Just Roger Mays: in Justin Dicostanzo: whack Roger Mays: two days Justin Dicostanzo: in the Roger Mays: time Justin Dicostanzo: number. Roger Mays: 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 Justin Dicostanzo: And Roger Mays: anything Justin Dicostanzo: you w Roger Mays: like that, Justin Dicostanzo: yeah. Roger Mays: it's just a number. Justin Dicostanzo: And you wouldn't you wouldn't need uh a whole host of extra buttons for that, you Roger Mays: No. Justin Dicostanzo: just need one 'cause you've already got all the numbers Roger Mays: You've already Justin Dicostanzo: there Roger Mays: got Justin Dicostanzo: anyway, Roger Mays: the numbers Justin Dicostanzo: yeah. Roger Mays: for typing Anthony Garcia: Right, Roger Mays: in anyway. Anthony Garcia: I've not come across that function but it sounds wonderful. Roger Mays: It is after um if you look in the newspaper, Justin Dicostanzo: It's not Roger Mays: T_V_ guide or any T_V_ guide there's a five, six Justin Dicostanzo: Yeah. Roger Mays: digit number afterwards and that's the number you put in Anthony Garcia: Ah, Roger Mays: and it's Anthony Garcia: hmm. Roger Mays: 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, Anthony Garcia: Right. Roger Mays: um and it has been around for quite Justin Dicostanzo: It's Roger Mays: a Justin Dicostanzo: been Roger Mays: long time. Justin Dicostanzo: been around for a long time it's just it's not very well advertised Roger Mays: No Justin Dicostanzo: as Roger Mays: it's not Justin Dicostanzo: to how Anthony Garcia: Superb. Roger Mays: um Justin Dicostanzo: to use it and Roger Mays: but Justin Dicostanzo: things. Roger Mays: I think if awareness was kind of Anthony Garcia: Mm. Roger Mays: brought to the forefront about that Justin Dicostanzo: Mm. Anthony Garcia: Yes. Justin Dicostanzo: 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 Roger Mays: Mm. Anthony Garcia: Right. Justin Dicostanzo: when it's on and you press it on it twice and it'll record the whole series. Anthony Garcia: Excellent, mm-hmm. Justin Dicostanzo: So that yeah. Anthony Garcia: Mm. Justin Dicostanzo: But just to have that function would Anthony Garcia: Right. Justin Dicostanzo: be would be really good. Roger Mays: Okay so Anthony Garcia: Can I just run this past you while it occurs to Anthony Garcia, 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 Anthony Garcia, 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 Justin Dicostanzo: Yeah. Anthony Garcia: phone the company, you can use Roger Mays: Mm-hmm. Anthony Garcia: 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? Justin Dicostanzo: 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 Anthony Garcia: Mm. Justin Dicostanzo: to help you out and Anthony Garcia: Mm-hmm. Justin Dicostanzo: 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 Anthony Garcia: Right. Justin Dicostanzo: having Roger Mays: 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. Anthony Garcia: Alright. Roger Mays: Taking your T_V_ and your Anthony Garcia: Yes Roger Mays: control and saying look this is what I'm doing, it's not working, what should I do? Anthony Garcia: 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 Justin Dicostanzo: Yeah, Anthony Garcia: not Roger Mays: I Justin Dicostanzo: I Anthony Garcia: gonna Roger Mays: think Justin Dicostanzo: mean Anthony Garcia: put any Roger Mays: so. Anthony Garcia: okay, Roger Mays: Um Anthony Garcia: just a thought. Justin Dicostanzo: I mean instru instruction books I Roger Mays: Instruction Justin Dicostanzo: feel c I Roger Mays: manuals. Justin Dicostanzo: reckon Anthony Garcia: Okay. Justin Dicostanzo: can Roger Mays: But Justin Dicostanzo: cover Roger Mays: I mean Justin Dicostanzo: that. Roger Mays: they're there's customer service, there Justin Dicostanzo: Yeah. Roger Mays: will be a customer service number Justin Dicostanzo: Department, Anthony Garcia: Mm-hmm. Justin Dicostanzo: yeah. Roger Mays: thing that you can phone up and speak to Anthony Garcia: Sure. Roger Mays: and that way there's no call out charge, there's no extra, t the person Anthony Garcia: Mm. Roger Mays: has to walk to a shop Johnny Richardson: Right. Roger Mays: on the high street, Anthony Garcia: Yeah. Johnny Richardson: I think Roger Mays: um. Johnny Richardson: it will be too much of an effort for a person to for a phone maybe he might walk down the street, Justin Dicostanzo: Yeah. Johnny Richardson: but for a remote he will just refer Anthony Garcia: Not Johnny Richardson: to the Anthony Garcia: for Johnny Richardson: manual Anthony Garcia: such Justin Dicostanzo: And they're Anthony Garcia: simple Johnny Richardson: and all that. Anthony Garcia: functions Justin Dicostanzo: yeah, Anthony Garcia: because Justin Dicostanzo: they Anthony Garcia: we're Justin Dicostanzo: should Anthony Garcia: focusing Justin Dicostanzo: be Roger Mays: Mm. Justin Dicostanzo: f Anthony Garcia: on that, yes Roger Mays: But Justin Dicostanzo: yeah. Roger Mays: we Anthony Garcia: okay. Roger Mays: should focus on making the manual as Johnny Richardson: Simple. Roger Mays: user-friendly Anthony Garcia: Mm. Roger Mays: as possible Justin Dicostanzo: Yeah. Roger Mays: because a lot of them are just tiny Justin Dicostanzo: Yeah. Roger Mays: little writing and lots and lots of pages. Anthony Garcia: Puts people off reading Justin Dicostanzo: It's the Anthony Garcia: them Roger Mays: It Justin Dicostanzo: uh Anthony Garcia: so Justin Dicostanzo: yeah. Roger Mays: does, Anthony Garcia: they just do the Roger Mays: you just Anthony Garcia: obvious, Roger Mays: put it in the Anthony Garcia: yes. Roger Mays: drawer until something goes wrong and then you try and search through it, so Anthony Garcia: Sure, Roger Mays: that should be something we think Anthony Garcia: okay. Roger Mays: about. Johnny Richardson: Mm-hmm. Roger Mays: 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? Justin Dicostanzo: 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 Roger Mays: Well they la Justin Dicostanzo: in with it Roger Mays: they Justin Dicostanzo: but Roger Mays: they last quite a long time, Justin Dicostanzo: Mm-hmm. Roger Mays: and if you had uh when you th the thing that you get with mobile house phones, Justin Dicostanzo: Yeah. Roger Mays: you sit it in its charger when you're not using it or Justin Dicostanzo: Yeah. Roger Mays: t at Johnny Richardson: Mm-hmm. Roger Mays: night or something, but it doesn't really matter 'cause it never really runs out 'cause it lasts a long time once Justin Dicostanzo: Yeah. Roger Mays: it is charged. Um, something like that should reduce Justin Dicostanzo: Yeah Roger Mays: the Justin Dicostanzo: and Roger Mays: size Justin Dicostanzo: if Roger Mays: of it. Justin Dicostanzo: 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 Roger Mays: Yeah it could be on that Justin Dicostanzo: Yeah on Roger Mays: yeah, Justin Dicostanzo: that as well so. Roger Mays: okay. S Johnny Richardson: So are we talking of a concept of a rechargeable something Justin Dicostanzo: Yeah Johnny Richardson: on Justin Dicostanzo: some Johnny Richardson: the remote? Justin Dicostanzo: sort Roger Mays: Yes. Justin Dicostanzo: of docking station or Roger Mays: Rechargeable Johnny Richardson: Mm-hmm. Roger Mays: with a docking station. Justin Dicostanzo: yeah. Roger Mays: So the rechargeable which would be your Justin Dicostanzo: Yeah yeah Roger Mays: field. Justin Dicostanzo: th yeah that that'd be fine, Roger Mays: Okay. Justin Dicostanzo: and also that would mean they wouldn't have to go out buying batteries all the time. Roger Mays: Yes, Anthony Garcia: Mm-hmm. Johnny Richardson: Right. Roger Mays: which it is cheaper in the long Justin Dicostanzo: Yeah. Roger Mays: 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 Anthony Garcia: Mm-hmm. Roger Mays: little thing either, Johnny Richardson: Mm-hmm. Roger Mays: because then you have got the repetitive strain injury no matter how many Anthony Garcia: Mm. Roger Mays: how much you try and make it simple, um Anthony Garcia: And we don't w I mean so many remote controls look absolutely identical, these Roger Mays: They Anthony Garcia: long, Roger Mays: do. Justin Dicostanzo: Yeah. Anthony Garcia: 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. Roger Mays: Okay so we've got Johnny Richardson: Okay. Roger Mays: a flip-screen. Um Johnny Richardson: 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, Justin Dicostanzo: Yeah. Johnny Richardson: like a chocolate. That's very strenuous because your thumb is slightly up, Anthony Garcia: Mm-hmm. Johnny Richardson: so they came up with something like this, curled up, so here, so it's like uh you can say a Anthony Garcia: Slightly Johnny Richardson: banana Anthony Garcia: curved, Johnny Richardson: shape kind of thing, curled Anthony Garcia: curved. Johnny Richardson: up Justin Dicostanzo: Yeah. Johnny Richardson: like a boat. Roger Mays: Okay. Johnny Richardson: G uh so what happens is you don't have to press your thumb too down like. So it's already Anthony Garcia: Mm. Johnny Richardson: curled up so Roger Mays: 'Cause it's Johnny Richardson: your Roger Mays: kind Johnny Richardson: thumb Roger Mays: of moulded Johnny Richardson: doesn't y Roger Mays: to your hand Johnny Richardson: yeah Roger Mays: anyway. Anthony Garcia: Mm. Johnny Richardson: so we can have a s like you know moulded according to your Justin Dicostanzo: Yeah. Johnny Richardson: the way you h hold of it's kind of semi-circular in the bottom, something like that. Roger Mays: Okay. Johnny Richardson: I wouldn't say exactly semi-circular but Roger Mays: Can Johnny Richardson: yeah smooth. Roger Mays: 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. Johnny Richardson: Current. Roger Mays: 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 Johnny Richardson: Mm-hmm. Roger Mays: of like a shell, Johnny Richardson: Mm-hmm. Roger Mays: 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. Johnny Richardson: We could look in at Anthony Garcia: I mean Johnny Richardson: that Anthony Garcia: look Johnny Richardson: but Anthony Garcia: at the mobile. Justin Dicostanzo: Mm. Johnny Richardson: 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. Roger Mays: Well we need to think about how it's gonna look different. Anthony Garcia: I think that's that sounds a really attractive idea, I've Johnny Richardson: A Anthony Garcia: not Johnny Richardson: sea Anthony Garcia: come Johnny Richardson: shell? Anthony Garcia: across anything like that before, if it kind of yeah and that opens out into your flip-top. Justin Dicostanzo: Yeah. Anthony Garcia: 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 Johnny Richardson: Yeah Anthony Garcia: and Johnny Richardson: we could look in at Anthony Garcia: plus Johnny Richardson: that. Anthony Garcia: 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. Roger Mays: Or you could do um different, like you get with mobile phones, different fascias. Justin Dicostanzo: Mm. Roger Mays: You Anthony Garcia: Mm-hmm. Roger Mays: could have different kind of casings. Anthony Garcia: Yeah. Roger Mays: So you could have like psychedelic ones Anthony Garcia: Mm-hmm. Roger Mays: for younger people and sleek ones and Anthony Garcia: Less chance of it being lost too, it's not like a chocolate brown lozenge that's gonna go down the sofa Roger Mays: Yeah. Anthony Garcia: 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. Roger Mays: Mm. Johnny Richardson: Yeah maybe we could come at some say five, six des designs and then choose which are whichever Roger Mays: Okay. Johnny Richardson: appeals the Justin Dicostanzo: Yeah. Anthony Garcia: Mm-hmm. Johnny Richardson: most like, that Roger Mays: Okay. Johnny Richardson: could be the most common design. Anthony Garcia: Okay. Roger Mays: Okay. Johnny Richardson: But we can like think of five, six designs. Roger Mays: Right, I think we have to round it up, um Anthony Garcia: Can I just quickly Roger Mays: Sure. Anthony Garcia: 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, Johnny Richardson: Mm-hmm. Anthony Garcia: our corporate image should be incorporated in the remote control, um something about Videoplus. Roger Mays: That was um in cutting down the number that was kinda separate that was cutting down the number Anthony Garcia: Right. Roger Mays: of functions, Anthony Garcia: Right. Roger Mays: making it simpler so instead of having lots of Anthony Garcia: Right, Roger Mays: things Anthony Garcia: so Roger Mays: you Anthony Garcia: when Roger Mays: put Anthony Garcia: they Roger Mays: in Anthony Garcia: press Roger Mays: for date Anthony Garcia: 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? Roger Mays: It's kinda takes the place of Anthony Garcia: Uh-huh. Roger Mays: having a button to press for the date and having the Anthony Garcia: Right. Roger Mays: button to press for the channel, things like Anthony Garcia: Right, Roger Mays: that. Anthony Garcia: so it's Roger Mays: Um Anthony Garcia: kind of doing away Roger Mays: it could Anthony Garcia: with Roger Mays: be Anthony Garcia: the programming Roger Mays: it c Anthony Garcia: feature? Roger Mays: It Justin Dicostanzo: Yeah. Roger Mays: yes, Anthony Garcia: Right. Roger Mays: 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. Anthony Garcia: Mm, and the rechargeable batteries. Roger Mays: Yeah. Anthony Garcia: Was there anything else there that we in the new Roger Mays: Um Anthony Garcia: new project requirements? Johnny Richardson: Yeah. Roger Mays: We've got the buttons but I think we'll Johnny Richardson: Yeah. Roger Mays: work through that with the design of it, Anthony Garcia: Mm-hmm. Roger Mays: um. Anthony Garcia: That's not at the moment a requirement, it's something we're looking at, Roger Mays: Yes. Anthony Garcia: what preference Roger Mays: Yes. Anthony Garcia: so it may come round to market research at some point Roger Mays: And Anthony Garcia: to see Roger Mays: we've Anthony Garcia: what Roger Mays: talked Anthony Garcia: people Roger Mays: about Anthony Garcia: would like. Roger Mays: um there being an alarm or something, a beeping Johnny Richardson: For Justin Dicostanzo: Yeah. Johnny Richardson: detection, Roger Mays: for being lost, Johnny Richardson: right. Roger Mays: 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, Johnny Richardson: Yep, Roger Mays: and different Johnny Richardson: I think Roger Mays: from what's out there. Anthony Garcia: Okay. Roger Mays: Yep, I think that's us. Anthony Garcia: What would you Johnny Richardson: True. Anthony Garcia: specifically Justin Dicostanzo: Okay. Anthony Garcia: like marketing to look at before the next meeting? Or shall I just sort of generally look at all the issues involved? Roger Mays: I think you might get guidance, but um I th Instruction manuals, 'cause Anthony Garcia: Okay. Roger Mays: 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. Anthony Garcia: Okay. Roger Mays: Um. Anthony Garcia: Whoops, Johnny Richardson: Oops. Anthony Garcia: questionnaire Johnny Richardson: We should f Anthony Garcia: four. Roger Mays: Yes, right. Anthony Garcia: 'Cause we're Roger Mays: Okay. Anthony Garcia: at Johnny Richardson: I Anthony Garcia: lunchtime Johnny Richardson: think it's time Anthony Garcia: now Johnny Richardson: for Anthony Garcia: I think. Johnny Richardson: us to get back to Roger Mays: Right, okay. I think you can email Anthony Garcia, if there's any more questions. Um and I'll be able to not answer them.

Justin Dicostanzo 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. Johnny Richardson presented his ideas for making the remote easy-to-use; he discussed using a simple design and hiding complicated features from the main interface. Anthony Garcia 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. Roger Mays 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

Cesar Nunley: I'll wait until you're all um hooked up. Benjamin Mikula: Oh good grief. 'Kay. Cesar Nunley: Okay. Benjamin Mikula: Oh. Cesar Nunley: Put it on in that Frank Dutton: Oops. Cesar Nunley: way. Thanks. Cesar Nunley: Okay. Frank Dutton: Mm. Cesar Nunley: Welcome back everybody, Frank Dutton: After lunch. Cesar Nunley: hope you've had fun. Frank Dutton: Yeah. Cesar Nunley: Right um this is our conceptual design meeting, Frank Dutton: Mm-hmm. Cesar Nunley: um I think we're slightly ahead of ourselves from the last meeting, David Smith: Yeah, Frank Dutton: Mm-hmm. Cesar Nunley: I David Smith: yeah Cesar Nunley: th David Smith: I was getting that Cesar Nunley: I David Smith: impression as Cesar Nunley: I David Smith: well. Cesar Nunley: think Benjamin Mikula: Mm. Cesar Nunley: yeah um. This is where we talk about um properties, materials, user-interface and David Smith: Etcetera. Cesar Nunley: trend-watching. Benjamin Mikula: Mm-hmm. Cesar Nunley: 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 David Smith: Yeah. Cesar Nunley: and we were gonna think about the port and an alarm for getting it lost, David Smith: Yeah. Cesar Nunley: things like that, um and our market was going to be young, business, kind of range. Frank Dutton: 'Kay. Cesar Nunley: Okay, so shall we start with the first presentation? Benjamin Mikula: Shall I? Frank Dutton: Yep. Cesar Nunley: Yes Benjamin Mikula: Okay. Cesar Nunley: if you feel Benjamin Mikula: We just connect up. Thank you. Benjamin Mikula: 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 Cesar Nunley: It's Benjamin Mikula: Project Cesar Nunley: okay. Benjamin Mikula: 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. Cesar Nunley: Yeah. Benjamin Mikula: 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. Frank Dutton: 'Kay. Cesar Nunley: Okay thank you very much. Um Frank Dutton: Yep. Cesar Nunley: let's start from the inside and work our way out. Frank Dutton: Fine. David Smith: Yeah, Frank Dutton: It's okay David Smith: okay. Frank Dutton: with Benjamin Mikula. Benjamin Mikula: Unless anyone has any questions about that? Not Cesar Nunley: I Benjamin Mikula: yet? Cesar Nunley: don't think so, not Benjamin Mikula: 'Kay. Cesar Nunley: yet. Um, yes, thank you. David Smith: That screwed Benjamin Mikula: Okay. David Smith: in? Cesar Nunley: I hate those little things David Smith: Yeah. Cesar Nunley: especially if you do them on too tight and you can't get the leverage on them to undo Benjamin Mikula: I know. Cesar Nunley: them. David Smith: 'Kay, Cesar Nunley: Okay. David Smith: 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. Cesar Nunley: 'Kay. David Smith: 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_ Cesar Nunley: 'Kay. David Smith: 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 Cesar Nunley: Wa David Smith: to be honest, Cesar Nunley: can you explain David Smith: people won't Cesar Nunley: that? David Smith: it's it's basically Cesar Nunley: Like a David Smith: like wind-up radio. Cesar Nunley: right, okay. David Smith: So you wind up your remote control before you use it. Cesar Nunley: How what David Smith: It Cesar Nunley: kind David Smith: might Cesar Nunley: of how l long can you get out of that, I mean can you David Smith: You Cesar Nunley: pick it up and then wind it for two minutes and then that's it for the night? David Smith: Yeah, Cesar Nunley: Or David Smith: 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 Cesar Nunley: That David Smith: when Cesar Nunley: doesn't count though David Smith: when Benjamin Mikula: Does Cesar Nunley: does David Smith: you Benjamin Mikula: does David Smith: got Cesar Nunley: it? Benjamin Mikula: light David Smith: T_V_. Benjamin Mikula: charge as as sunlight Cesar Nunley: I thought Benjamin Mikula: does? Cesar Nunley: it was Benjamin Mikula: Artificial Cesar Nunley: U_V_ David Smith: No. Benjamin Mikula: light? David Smith: Is Cesar Nunley: like David Smith: it? Alright i Benjamin Mikula: Has to be solar. Cesar Nunley: Any, any Frank Dutton: 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 David Smith: Yeah Frank Dutton: space. David Smith: it would the d yeah the dynamo would take more space 'cause you actually need a physical sort of handle to wind up. Cesar Nunley: I'm pretty sure that solar is from the sun. David Smith: Yeah, Benjamin Mikula: Mm. David Smith: okay. Cesar Nunley: Uh, I don't think it counts Benjamin Mikula: Artificial Cesar Nunley: electric Benjamin Mikula: light, Cesar Nunley: lights Benjamin Mikula: no. Cesar Nunley: no, but I mean Benjamin Mikula: That's Cesar Nunley: not Benjamin Mikula: going to Cesar Nunley: many you don't want to limit your market. I mean people who live in basement flats there's not that many people, Benjamin Mikula: I know, different Cesar Nunley: but Frank Dutton: Uh Cesar Nunley: there David Smith: But Benjamin Mikula: parts Cesar Nunley: are Benjamin Mikula: of the world Cesar Nunley: people. Benjamin Mikula: too, if we're if we're marketing internationally. David Smith: Yeah and most Frank Dutton: Right. David Smith: people most people also watch T_V_ in the in the Frank Dutton: Night. David Smith: night anyway. Cesar Nunley: 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 David Smith: But Cesar Nunley: for David Smith: I Cesar Nunley: the David Smith: I think Cesar Nunley: evening. David Smith: I think the the next one's the best Cesar Nunley: Okay. David Smith: anyway. The the kinetic charging which is like you get it in r you get it in wrist watches Cesar Nunley: Yeah I've David Smith: and Cesar Nunley: seen David Smith: 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. Frank Dutton: And are these like uh what are the life of the kinetic battery, it like it runs for long time? David Smith: Um yeah it's it charges into um some form of it's a smaller cell Frank Dutton: Mm-hmm. David Smith: which it charges into and uh the si the size sort of a watch a watch battery, 'cause they use them quite frequently Frank Dutton: Okay. David Smith: 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. Cesar Nunley: But then Frank Dutton: We c Cesar Nunley: 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 David Smith: Yeah. Cesar Nunley: so you're walking around, you're doing things, it is moving a lot of the time. David Smith: Yeah Cesar Nunley: If David Smith: and Cesar Nunley: you'd I mean you switch the T_V_ on, then you put it on the side, then Benjamin Mikula: Mm-hmm. Cesar Nunley: you pick it up to change it and then you put it on the side. David Smith: Yeah but then Cesar Nunley: Is David Smith: again Cesar Nunley: it really gonna be enough? David Smith: 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. Cesar Nunley: Okay. David Smith: 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 Benjamin Mikula: Hmm. Cesar Nunley: So it's David Smith: and Cesar Nunley: not David Smith: you Cesar Nunley: the David Smith: put Cesar Nunley: draw David Smith: it Cesar Nunley: on it isn't Benjamin Mikula: Mm-hmm. David Smith: no no I do I don't Benjamin Mikula: Mm. David Smith: think the Cesar Nunley: Okay. Benjamin Mikula: Could David Smith: the Benjamin Mikula: I David Smith: draw Benjamin Mikula: just David Smith: on it Benjamin Mikula: ask David Smith: would be Benjamin Mikula: referring back to solar charging, is that David Smith: Mm. Benjamin Mikula: 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 David Smith: Ye Benjamin Mikula: or the two things not compatible? David Smith: yeah I think Cesar Nunley: Like a David Smith: I Cesar Nunley: dual David Smith: th uh g y Cesar Nunley: kind David Smith: you Cesar Nunley: of. David Smith: 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 Benjamin Mikula: Mm. David Smith: they're qui they're quite big and they all they all look i identical. Benjamin Mikula: So that affects Frank Dutton: Solar Benjamin Mikula: the exterior Frank Dutton: would be Benjamin Mikula: design. Cesar Nunley: Expensive Frank Dutton: slightly Cesar Nunley: as Frank Dutton: expensives. Cesar Nunley: well. David Smith: They're they're Cesar Nunley: What David Smith: expensive, Cesar Nunley: kind of price David Smith: they don't Cesar Nunley: are we looking at for I presume Frank Dutton: It's Cesar Nunley: the Frank Dutton: twelve Cesar Nunley: normal Frank Dutton: point f Cesar Nunley: batteries are the cheapest? David Smith: 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 Cesar Nunley: Solar. David Smith: drop stuff yeah if you if you have Cesar Nunley: Well they're David Smith: y Cesar Nunley: not designed David Smith: 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 Cesar Nunley: Practical-wise David Smith: I think yeah, Cesar Nunley: okay. David Smith: practically. I mean calculators you don't really throw around a lot whereas remotes you do, they Cesar Nunley: You David Smith: can Cesar Nunley: do get David Smith: t Cesar Nunley: a bit of wear but don't calculators have a battery in them David Smith: Yeah Cesar Nunley: as David Smith: they Cesar Nunley: well? David Smith: do, they yeah they've got dual things, Benjamin Mikula: Mm. David Smith: but they're Cesar Nunley: Mm. David Smith: the batteries are smaller I think. Frank Dutton: Another Benjamin Mikula: Again Frank Dutton: question Benjamin Mikula: it de Frank Dutton: 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. David Smith: Mm. Frank Dutton: A remote David Smith: W Frank Dutton: control, like, so Benjamin Mikula: Mm. David Smith: m yeah so Frank Dutton: we David Smith: the Frank Dutton: have to s look at the life also. David Smith: 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 Benjamin Mikula: It would David Smith: triple Benjamin Mikula: just detract David Smith: A_s would last. Benjamin Mikula: from the attractiveness of the of the whole feature, David Smith: Yeah Benjamin Mikula: i it's David Smith: I think Benjamin Mikula: not gonna David Smith: i I Benjamin Mikula: add David Smith: think Benjamin Mikula: anything, David Smith: it would, Benjamin Mikula: okay. David Smith: yeah. Cesar Nunley: Okay, can we add in uh an attachment to closing feature? Frank Dutton: Okay. Cesar Nunley: Can we think about that? 'Cause if we're doing the kinetic thing David Smith: Yeah. Cesar Nunley: and Benjamin Mikula: Shouldn't we do some Cesar Nunley: it's Benjamin Mikula: market research on that first before we add it in because I I personally Cesar Nunley: Well add it in to think about Benjamin Mikula: right, okay. Cesar Nunley: 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 David Smith: Yeah. Cesar Nunley: 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 David Smith: Yeah. Cesar Nunley: so much. But then maybe David Smith: Yeah. Cesar Nunley: that's looking at someone who's just sitting on their own rather than the eternal battle for control of the controls. Benjamin Mikula: It's not something that's come up in any of our uh focus groups and market research, Cesar Nunley: No. Benjamin Mikula: it's not a thing that people are looking for Cesar Nunley: Okay. Benjamin Mikula: when we threw it open Frank Dutton: So Benjamin Mikula: to the field yeah. David Smith: Okay. Benjamin Mikula: But it's something to put on the side to think about maybe. Cesar Nunley: Okay, right. David Smith: Okay, well I'll move on. Cesar Nunley: Mm-hmm. David Smith: 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. Cesar Nunley: 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 David Smith: Well Cesar Nunley: and we would have to fit the David Smith: well Cesar Nunley: design David Smith: this Cesar Nunley: of David Smith: 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, Cesar Nunley: Mm-hmm. David Smith: 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 Cesar Nunley: Okay. David Smith: 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 Cesar Nunley: Okay. David Smith: 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 Cesar Nunley: Mm-hmm. David Smith: do it more Frank Dutton: Mm-hmm. David Smith: 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. Frank Dutton: Okay. David Smith: 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 Cesar Nunley: Mm-hmm. David Smith: 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 Cesar Nunley: Mm. David Smith: to make it is expensive, and rubber, well you're saying that people like this uh spongy feel this Benjamin Mikula: Mm. David Smith: 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 Benjamin Mikula: Okay. David Smith: and it's meant to be anti R_S_I_. Cesar Nunley: Mm-hmm. David Smith: 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 Frank Dutton: Second David Smith: for Cesar Nunley: Hinged, Frank Dutton: thing David Smith: the flip Frank Dutton: is David Smith: phone. Cesar Nunley: yeah. Frank Dutton: yeah and second question is like, a mobile you can change the cover, David Smith: Yeah. Frank Dutton: 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 Benjamin Mikula: Mm. Frank Dutton: green to chilli red or something like that. David Smith: Yeah I th Frank Dutton: So is that feature available in like uh titanium, or it's David Smith: Uh. Frank Dutton: like only specific to plastic David Smith: Yeah Frank Dutton: or David Smith: in in titanium I don't I don't think it would be available at all really, Benjamin Mikula: Mm-hmm. David Smith: 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, Frank Dutton: Mm-hmm. David Smith: 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 Benjamin Mikula: It does David Smith: for Benjamin Mikula: mark David Smith: a remote. Benjamin Mikula: quite easily too if you let it fall. I've got a mobile phone myself which is titanium and it does David Smith: Yeah, Benjamin Mikula: mark very easily David Smith: yeah. Benjamin Mikula: 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 David Smith: Rubber, Benjamin Mikula: over, David Smith: yeah. Benjamin Mikula: that would give the spongy feel, that also allows us to kind of have different fasciae David Smith: And you can Benjamin Mikula: for David Smith: peel Benjamin Mikula: the phone. David Smith: them off yeah. Cesar Nunley: So Frank Dutton: Yeah. Cesar Nunley: instead of the fascia that comes off being plastic, the fascia that comes Benjamin Mikula: Like Cesar Nunley: off Benjamin Mikula: a rubber Cesar Nunley: would Benjamin Mikula: sleeve Cesar Nunley: be the rubber, Benjamin Mikula: almost, yeah. David Smith: Yeah. Frank Dutton: Something Cesar Nunley: like those Frank Dutton: like Cesar Nunley: pens that you get with the grip, David Smith: Yeah. Benjamin Mikula: Mm. Frank Dutton: Alright. Cesar Nunley: that you can Frank Dutton: That Cesar Nunley: you can Frank Dutton: could Cesar Nunley: pull Frank Dutton: be a good Cesar Nunley: that Frank Dutton: idea. Cesar Nunley: off. Benjamin Mikula: Mm. David Smith: Hmm. Frank Dutton: It Cesar Nunley: Okay. Frank Dutton: could it would be comfortable to hold on also. Cesar Nunley: Mm. Benjamin Mikula: Very David Smith: T Benjamin Mikula: cheap way of changing the look of it and people can just buy a new one David Smith: Yeah. Benjamin Mikula: if they want to. Cesar Nunley: Well that's been really popular with mobile phones so I don't Benjamin Mikula: Mm. Cesar Nunley: see why not. Benjamin Mikula: Yeah. David Smith: Also the Cesar Nunley: 'Kay. David Smith: just just going back to the interface designs with the buttons, the I kno we were planning to do some sort of touch Cesar Nunley: Mm-hmm. David Smith: 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 Frank Dutton: Sorry I didn't David Smith: display. Frank Dutton: get the last part, you're talking of David Smith: Uh what what Frank Dutton: Just what you said I I didn't get the uh meaning of it completely, you're saying David Smith: Oh Frank Dutton: like David Smith: on the on the L_C_D_ screen Frank Dutton: Uh-huh. David Smith: 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 Frank Dutton: Okay. Cesar Nunley: Mm-hmm. David Smith: 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 Benjamin Mikula: Mm. David Smith: circuit board. With W Benjamin Mikula: I David Smith: also Benjamin Mikula: don't s David Smith: with Benjamin Mikula: sorry David Smith: the Benjamin Mikula: to interrupt, I don't see why the curved thing is a problem, if we for example had a shell, David Smith: Yeah. Cesar Nunley: Oh Benjamin Mikula: once Cesar Nunley: it would be Benjamin Mikula: we Cesar Nunley: flat Benjamin Mikula: open that Cesar Nunley: inside. Benjamin Mikula: yeah, so David Smith: You Benjamin Mikula: it'd David Smith: could Benjamin Mikula: be David Smith: have Benjamin Mikula: f David Smith: a Benjamin Mikula: yeah, David Smith: flat screen inside, Benjamin Mikula: yeah. Cesar Nunley: Mm. David Smith: yeah, Benjamin Mikula: Have David Smith: but I'm Benjamin Mikula: I David Smith: just Benjamin Mikula: misunderstood David Smith: wondering whether Benjamin Mikula: you? David Smith: we want an L_C_D_ screen inside. It wouldn't be like full colour, it would just be black and white, Benjamin Mikula: Mm-hmm. David Smith: but there'd be touch touch buttons, so you Frank Dutton: 'Kay. David Smith: 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_. Benjamin Mikula: Mm-hmm. Cesar Nunley: I think it would be good to have a contrast between, if the whole thing is gonna David Smith: Is Cesar Nunley: be David Smith: rubber. Cesar Nunley: this rubber thing it would be good to open it up and see something quite fancy looking Benjamin Mikula: Yeah. Cesar Nunley: inside. David Smith: Mm. Cesar Nunley: I mean David Smith: Yeah I hadn't I Cesar Nunley: Uh David Smith: hadn't really thought of Benjamin Mikula: I just David Smith: that Benjamin Mikula: had another idea, David Smith: to be Benjamin Mikula: I don't David Smith: honest. Benjamin Mikula: 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 David Smith: Yeah Benjamin Mikula: when David Smith: you Benjamin Mikula: people David Smith: could, Benjamin Mikula: want David Smith: you Benjamin Mikula: to. David Smith: could have some sort of stylus Cesar Nunley: Like one David Smith: that you Cesar Nunley: of David Smith: could Cesar Nunley: the palm David Smith: pull Cesar Nunley: pop David Smith: out Cesar Nunley: thing. David Smith: but Benjamin Mikula: Mm. David Smith: I I think they could get a bit easily lost, Benjamin Mikula: Yeah. Frank Dutton: Absolutely, David Smith: 'cause I had Frank Dutton: f Benjamin Mikula: They're Cesar Nunley: It Benjamin Mikula: easy Cesar Nunley: would have Benjamin Mikula: to Cesar Nunley: to Benjamin Mikula: replace Cesar Nunley: be attached. Benjamin Mikula: as Frank Dutton: for Benjamin Mikula: well, Frank Dutton: somebody who Benjamin Mikula: cheap. Frank Dutton: very often, David Smith: Hmm. Frank Dutton: if he would a person who switches channels very often or does use a particular function very often David Smith: Yeah. Frank Dutton: will find it very irritating to use a David Smith: Yeah. Benjamin Mikula: Mm-hmm. Frank Dutton: and he might spoil the touch-pad very fast compared to a button like, David Smith: Yeah. Frank Dutton: if Benjamin Mikula: Mm. Frank Dutton: you keep punching with an pointer or whatever. David Smith: Yeah Benjamin Mikula: Yeah David Smith: okay. Benjamin Mikula: 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 Cesar Nunley: Okay, we'll talk about that so if you finish your and David Smith: Yeah Cesar Nunley: we'll come David Smith: that's Cesar Nunley: back to that. David Smith: yeah that Cesar Nunley: That's David Smith: that's Cesar Nunley: you, David Smith: the end of m my Frank Dutton: And Cesar Nunley: right Frank Dutton: just one Cesar Nunley: okay. Frank Dutton: small question before like you are, regarding the circuit, since we are hav having a flip-top, we David Smith: Yeah. Frank Dutton: can customise the two circuits for different type of buttons like we are keeping the standard buttons on the top and David Smith: Uh Frank Dutton: the more David Smith: yeah. Frank Dutton: complex buttons under this thing, so we can divide the circuit like you know. David Smith: Yeah yeah that that would be fairly simple, I mean you'd Frank Dutton: Mm-hmm. David Smith: you'd actually have two separate you'd Frank Dutton: Okay. David Smith: have two separate circuit boards but they'd be joined by wires or Frank Dutton: Okay. David Smith: like some cabling between them, Benjamin Mikula: Mm-hmm. David Smith: 'cause in the in the actual flip bit you'd have some linking. Benjamin Mikula: another point while it occurs to Benjamin Mikula, it kind of applies to both our designers here, so I'm not sure how it David Smith: Mm. Benjamin Mikula: 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? Cesar Nunley: No. Benjamin Mikula: 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. Cesar Nunley: We're David Smith: Um. Cesar Nunley: marketing to guys as much as we are to women. Benjamin Mikula: They don't look at themselves? Just a thought. Cesar Nunley: Well it's a remote control, you were sitting watching T_V_ Benjamin Mikula: Yeah. Cesar Nunley: are you gonna want to sort of open it and say Benjamin Mikula: I Cesar Nunley: oh Benjamin Mikula: know what Cesar Nunley: shit Benjamin Mikula: you mean, Cesar Nunley: I should Benjamin Mikula: it's Cesar Nunley: go Benjamin Mikula: with Cesar Nunley: and Benjamin Mikula: us Cesar Nunley: have Benjamin Mikula: using Cesar Nunley: a Benjamin Mikula: the ideas Cesar Nunley: shower Benjamin Mikula: for a mobile Cesar Nunley: and Benjamin Mikula: ph Cesar Nunley: do my hair before I put the T_ Benjamin Mikula: it's with us using the ideas for mobile phones I kinda got Cesar Nunley: Yeah, Benjamin Mikula: sidetracked Cesar Nunley: no, Benjamin Mikula: onto that I think, okay. Cesar Nunley: no. Benjamin Mikula: trying to think of other features we can build in that wouldn't cost too much Cesar Nunley: Mm. Benjamin Mikula: but maybe we'll leave that one on the side. David Smith: Yeah. Benjamin Mikula: 'Kay. Cesar Nunley: Okay. David Smith: 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, Benjamin Mikula: Mm. David Smith: but I don't know if you could get any mirror effect on it, Benjamin Mikula: Oh I think David Smith: I'm not sure Benjamin Mikula: forget David Smith: about Benjamin Mikula: about the mirror that was just a very quick passing thought yeah. Cesar Nunley: Okay, okay. Frank Dutton: 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 Cesar Nunley: Mm. Frank Dutton: and like marketing team said uh, people need trendy, they are bored of black and white. So David Smith: Yeah. Frank Dutton: you generally see rectangular shape, very monotonous kind of designs here. And uh second thing is there's too much of confusion here. Cesar Nunley: Mm. Frank Dutton: 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. Cesar Nunley: Okay. Frank Dutton: Okay, and second as already discussed with William, we are going to have m maybe a G_ G_U_I_ interface in the David Smith: Yeah. Frank Dutton: f in the middle of the flip-top Benjamin Mikula: Sorry what Frank Dutton: and Benjamin Mikula: does that Cesar Nunley: Which Benjamin Mikula: stand Cesar Nunley: means Frank Dutton: g Benjamin Mikula: for? Frank Dutton: graphic user interface basically Benjamin Mikula: Okay. Frank Dutton: which is what we d do in computer, have David Smith: Yeah. Frank Dutton: icons or touch pad or whatever, which David Smith: If Frank Dutton: is David Smith: you if yeah if you have like buttons that appear on the screen in this L_C_D_ screen. Frank Dutton: Like you have on a l uh icons or something y you have is a good example of G_U_I_ graphic user interface. David Smith: Yeah. Cesar Nunley: Okay. Frank Dutton: So basically not point or click Press any particular device, he just has to click on that particular icon Cesar Nunley: Okay. Frank Dutton: 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. Cesar Nunley: Mm-hmm. Frank Dutton: 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. Cesar Nunley: 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. David Smith: Yeah. Benjamin Mikula: 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 Cesar Nunley: Yeah. Benjamin Mikula: again, you open that, you've got your L_C_D_ display there and you've got the buttons there so you're holding David Smith: Yeah, Benjamin Mikula: it in Cesar Nunley: That's Benjamin Mikula: the palm Cesar Nunley: what Benjamin Mikula: of your Cesar Nunley: I was Benjamin Mikula: hand, David Smith: yeah Cesar Nunley: just saying, Benjamin Mikula: yeah. David Smith: but you Cesar Nunley: and Frank Dutton: But David Smith: can Cesar Nunley: then David Smith: do Cesar Nunley: have David Smith: it with your Cesar Nunley: the David Smith: thumb li Cesar Nunley: and then have the L_C_D_ at the top Benjamin Mikula: Mm-hmm. Frank Dutton: Mm-hmm. Cesar Nunley: and then be able to touch that for the Benjamin Mikula: Mm-hmm. Cesar Nunley: other Frank Dutton: Okay Cesar Nunley: controls, Frank Dutton: and you mean to Cesar Nunley: so Frank Dutton: the Cesar Nunley: have the um the volume and the programme, things like that, Frank Dutton: And the lower distance. Cesar Nunley: on the lower Frank Dutton: Oh f Cesar Nunley: side. Frank Dutton: perfect. Benjamin Mikula: Hmm. Cesar Nunley: Okay. Frank Dutton: 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 David Smith: Yeah. Frank Dutton: it. So it could be like, where is the remote, and the remote answers I am here. David Smith: Yeah. Frank Dutton: Some kind of thing or it gives a b bleep sound or some kind of sound Benjamin Mikula: Mm. Frank Dutton: this can be incorporated this would be more uh you can say trendy also? And technologically innovative also. David Smith: Yeah. Frank Dutton: 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, Benjamin Mikula: Mm. Frank Dutton: uh red chilli David Smith: Yeah. Frank Dutton: 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 David Smith: Well, yeah we Frank Dutton: I think most of the users would now be well acquainted with this cer central pattern, here, David Smith: Yeah. Frank Dutton: so we we we would not change h that particular pattern because i this is the most consistent thing in all remote controls. Cesar Nunley: I can't see that, is that play and stop and things? Frank Dutton: This is central one, the one you Cesar Nunley: Or is that volume and Frank Dutton: yeah volume and Cesar Nunley: channel? Frank Dutton: 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. Cesar Nunley: 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? Benjamin Mikula: Kinetic? Frank Dutton: The kinetic. Cesar Nunley: Yeah. David Smith: Yeah. Cesar Nunley: Um, that means that there's no function for li the port, you know that it sits in, then pressing David Smith: Mm. Cesar Nunley: the button then having so we could incorporate voice recognition David Smith: Yeah Cesar Nunley: for the David Smith: I Cesar Nunley: finding David Smith: think Cesar Nunley: it. David Smith: I mean Cesar Nunley: It's David Smith: if Cesar Nunley: a bi i it's like a g it's a gadget, it's a David Smith: Yeah it is it is Cesar Nunley: selling David Smith: qui Cesar Nunley: point. David Smith: it's quite a cool feature to have and also if they've got it if they've got these parts already in stock, Frank Dutton: Mm-hmm. David Smith: 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 Benjamin Mikula: Mm. David Smith: fun. Cesar Nunley: I think the only I think the only pitfall that we would have would be how much it's going to cost David Smith: Yeah. Cesar Nunley: if that means we have to cut down somewhere else, but I think pretty much we've used cheap David Smith: Yeah. Cesar Nunley: relatively cheap and Benjamin Mikula: Mm. Cesar Nunley: simple things. David Smith: Yeah Cesar Nunley: The David Smith: to Cesar Nunley: L_C_D_'s David Smith: s Cesar Nunley: not cheap. David Smith: th well Benjamin Mikula: Hmm. David Smith: 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. Cesar Nunley: Yeah, okay. Frank Dutton: Maybe we could start with the black and white. David Smith: Yeah. Frank Dutton: That Cesar Nunley: And you Frank Dutton: that Cesar Nunley: could Frank Dutton: way we could Cesar Nunley: yeah. Frank Dutton: upgrade later. Benjamin Mikula: Yeah, Cesar Nunley: Okay. Benjamin Mikula: we talked about Frank Dutton: Mm. Benjamin Mikula: kinetic charging, we've deci seem to have decided on that, did we decide on double A_ or triple A_ batteries? Frank Dutton: Mm. David Smith: Well you cou um. Cesar Nunley: Do you want like a back-up? Benjamin Mikula: 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 David Smith: K no the Benjamin Mikula: they? David Smith: kinetic Benjamin Mikula: I David Smith: ones Benjamin Mikula: oh I David Smith: come Benjamin Mikula: see. David Smith: come with um a sort of w watch a battery that goes in a watch. Benjamin Mikula: Right, okay, got you. David Smith: So it's a lot smaller, so it would Benjamin Mikula: Got you on that okay, didn't realise. Cesar Nunley: Um, okay so we've got battery. The inside components is pretty standardised across the board isn't it? David Smith: Yeah. Frank Dutton: Yeah. Cesar Nunley: 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_ David Smith: Yeah Cesar Nunley: or David Smith: 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 Cesar Nunley: On David Smith: we're Cesar Nunley: the top David Smith: gonna Cesar Nunley: one okay you've got the touch David Smith: yeah. Cesar Nunley: okay and then David Smith: On the bottom we were gonna have the rubber, the rubber ones, the anti-R_S_I_ ones. Cesar Nunley: Okay, okay. Benjamin Mikula: Sorry could you repeat that last part? David Smith: Um, okay on Benjamin Mikula: L_C_D_ David Smith: we've got the flip Benjamin Mikula: screen. David Smith: the flip-screen, Benjamin Mikula: Mm-hmm. David Smith: the top one is gonna be the L_C_D_ and the bottom one is gonna be the rubberised buttons. Benjamin Mikula: Okay. Frank Dutton: And for the sorry. Cesar Nunley: No, it's fine. Frank Dutton: For the body design I think plastic, David Smith: Plastic, Frank Dutton: uh w yeah David Smith: okay. Frank Dutton: we could Cesar Nunley: For Frank Dutton: use Cesar Nunley: the Frank Dutton: the Cesar Nunley: inside. Frank Dutton: body, for the inside and David Smith: Yeah. Frank Dutton: uh rubber as a padding or for the grip, something like to add to the design. Cesar Nunley: Mm-hmm. Benjamin Mikula: Mm-hmm, so we decided on a rubber casing for the plastic shell, Frank Dutton: Plast right. Benjamin Mikula: a variety Cesar Nunley: Oh I think Benjamin Mikula: of designs, Cesar Nunley: so, I Benjamin Mikula: okay. Cesar Nunley: think so. Benjamin Mikula: 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, David Smith: Mm Benjamin Mikula: like David Smith: no. Benjamin Mikula: a shell that we discussed, Cesar Nunley: No Benjamin Mikula: just Cesar Nunley: I think Benjamin Mikula: go for the colours. Cesar Nunley: I Frank Dutton: It's Cesar Nunley: we don't wanna be tacky if we've got Benjamin Mikula: Okay. Cesar Nunley: 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 Benjamin Mikula: Mm-hmm. Cesar Nunley: 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 Benjamin Mikula: The feel. Cesar Nunley: yes. So we could Benjamin Mikula: 'Kay. Cesar Nunley: just pick anything. Benjamin Mikula: 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 Cesar Nunley: It's Benjamin Mikula: fancy? Frank Dutton: Uh Cesar Nunley: just Frank Dutton: I Cesar Nunley: different Frank Dutton: it's different. Cesar Nunley: it's just different from everything else and I mean, I'm trying to imagine um clean looking Benjamin Mikula: Mm. Cesar Nunley: houses, sort of beige and black Benjamin Mikula: Mm-hmm. Cesar Nunley: um so you either want something that goes with that, which is what's Benjamin Mikula: Mm-hmm. Cesar Nunley: on the market anyway, Benjamin Mikula: Mm-hmm. Cesar Nunley: or you want something that contrasts as David Smith: Mm. Cesar Nunley: you know like you get clocks now that Benjamin Mikula: Mm-hmm. Cesar Nunley: are more of a talking point than an actual clock Benjamin Mikula: Yeah. Cesar Nunley: because they're so interesting Benjamin Mikula: I'm just kind of pushing Cesar Nunley: and Benjamin Mikula: 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. Cesar Nunley: Mm. Benjamin Mikula: This would definitely be different enough, I just wondered if anybody could come up with something even more Cesar Nunley: 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 Benjamin Mikula: Well the thing Cesar Nunley: ones Benjamin Mikula: is the rubberised Cesar Nunley: for your little Benjamin Mikula: 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 Cesar Nunley: Mm. Benjamin Mikula: to just produce that and it can be slipped on, Cesar Nunley: And Frank Dutton: Right. Cesar Nunley: ones Benjamin Mikula: which is another Cesar Nunley: tha Benjamin Mikula: beauty of it. Cesar Nunley: ones that have rubbery spikes y you know, David Smith: You Cesar Nunley: you David Smith: can Cesar Nunley: could just David Smith: you can Cesar Nunley: go David Smith: just Cesar Nunley: so Frank Dutton: Acupressure, Cesar Nunley: far Frank Dutton: you Cesar Nunley: with David Smith: Yeah. Frank Dutton: could Cesar Nunley: it, Frank Dutton: talk of acupressures. Cesar Nunley: like a puffer fish, you could just, you could take it wherever, so I think that's quite a David Smith: Yeah. Cesar Nunley: flexible Frank Dutton: And finally Cesar Nunley: thing. Frank Dutton: the body should be retouchable, may maybe ch you can change the body or the case casing the case outside, Cesar Nunley: Yes. Frank Dutton: it should be moulded it with the design in such a way you can change it every time. David Smith: Yeah, yeah j with these rubber these rubberised ca not Cesar Nunley: Mm. David Smith: the actual uh plastic outside Frank Dutton: Okay. David Smith: case, just the rubber Frank Dutton: The rubber. Cesar Nunley: Yeah. David Smith: thing that goes round the outside. Cesar Nunley: Okay we've got five minutes, um, or that might've been up Benjamin Mikula: Mm, Cesar Nunley: for Frank Dutton: Fine. Cesar Nunley: a while. Benjamin Mikula: so can I just recap uh Sarah, Frank Dutton: Yeah. Benjamin Mikula: 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? Frank Dutton: Fine, uh we were talking of voice recognition also Benjamin Mikula: Mm. Cesar Nunley: Mm-hmm. Frank Dutton: because that we are not for how to look it uh remote control if it's lost. So, Benjamin Mikula: Yes, Frank Dutton: are Benjamin Mikula: it was Frank Dutton: we Benjamin Mikula: just, Frank Dutton: looking Benjamin Mikula: there was Frank Dutton: at Benjamin Mikula: just Frank Dutton: voice? Benjamin Mikula: a cost issue with that, but it's a good idea we just need to check on the cost, Frank Dutton: Or Benjamin Mikula: is Frank Dutton: maybe Benjamin Mikula: that right? Frank Dutton: like uh William was suggesting in the last thing some devices you put on key chains. For David Smith: Oh Frank Dutton: l David Smith: yeah, yeah Frank Dutton: yeah, David Smith: the whistle ones, yeah. Frank Dutton: the whistle. So we can if financially voice recognition is not feasible we could go for a whistle. Benjamin Mikula: And incorporating the company logo? Frank Dutton: Yep. Cesar Nunley: Have you Frank Dutton: Uh sorry I didn't mention this, but we'll be incorporating in the design. Benjamin Mikula: Mm. 'Cause Cesar Nunley: Okay. Benjamin Mikula: 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 Cesar Nunley: Well they Benjamin Mikula: they? Cesar Nunley: do, but I think we can Benjamin Mikula: Since it's Cesar Nunley: you Benjamin Mikula: the only Cesar Nunley: could Benjamin Mikula: one of its kind on the market Cesar Nunley: well Benjamin Mikula: it's obviously Cesar Nunley: it is, Benjamin Mikula: gonna Cesar Nunley: it Benjamin Mikula: be ours. Cesar Nunley: is, I think you just address that with um advertising. Benjamin Mikula: Yeah. Cesar Nunley: Um, you associate the name with the individual product David Smith: Yeah. Cesar Nunley: that it is Benjamin Mikula: Okay. Cesar Nunley: 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 Benjamin Mikula: Okay. Cesar Nunley: but I think it does, without that so I'm not worried about that. Benjamin Mikula: 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? Cesar Nunley: Depending on how i David Smith: Yeah, depending on the expense of it. Cesar Nunley: I mean we've got this memo saying that it's something that the company's looking into, so David Smith: And they've got in stock, so yeah. Cesar Nunley: 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 David Smith: Yeah. Cesar Nunley: afterwards. Right David Smith: Okay. Cesar Nunley: I'm going to wrap it up there. Frank Dutton: Fine. Cesar Nunley: I got a end meeting now message on my Frank Dutton: Mm-hmm. Cesar Nunley: mo David Smith: Did it? Cesar Nunley: yeah Frank Dutton: Yeah. Cesar Nunley: so. Frank Dutton: Again Cesar Nunley: Um Frank Dutton: a questionnaire huh? Cesar Nunley: so I think we've probably got it Benjamin Mikula: You Cesar Nunley: says, Benjamin Mikula: got to go through. Cesar Nunley: 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. Frank Dutton: I think we are pretty going in a clear direction now. Cesar Nunley: Is everyone happy? Okay.

Cesar Nunley reviewed the decisions from the previous meeting. Benjamin Mikula made a presentation on trend watching, including trends in user requirements and trends in fashion. David Smith 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. Frank Dutton 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. Cesar Nunley 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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Carroll Swann: If you leave them on the whole time you get to look like a noodle the whole time. Leroy Nolder: Hmm. Russell Virgil: Is that someone's? Carroll Swann: Is that. Leroy Nolder: Thank you. Carroll Swann: three, apparently. Leroy Nolder: Hmm. Hmm. Carroll Swann: Okay, you all Russell Virgil: Okay. Carroll Swann: switched on. Leroy Nolder: Yep Russell Virgil too. Carroll Swann: I presume we're good to go. Okay, um minutes um we decided to use a kinetic charger, Leroy Nolder: Mm-hmm. Carroll Swann: 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. Joseph Clark: Is that for us? Carroll Swann: I think Leroy Nolder: Yep. Carroll Swann: that would be you. Joseph Clark: Okay. Leroy Nolder: Russell Virgil and William worked on a prototype, and I think William is going to make a p presentation on that. Joseph Clark: Yeah shall, I show? Leroy Nolder: Yeah. Joseph Clark: I'll show. Though do you do you wanna Carroll Swann: Make Joseph Clark: do you Carroll Swann: sure Joseph Clark: wanna Carroll Swann: the Leroy Nolder: I Joseph Clark: sh Carroll Swann: camera's Leroy Nolder: can hold it like Joseph Clark: do you wanna hold it and I'll Leroy Nolder: Yeah, Joseph Clark: I'll Leroy Nolder: so Joseph Clark: show you the presentation. Can I just nick Carroll Swann: Yes, Joseph Clark: your Carroll Swann: yes you can. Wait a second, I'll get it out. Joseph Clark: Whoa. Leroy Nolder: It Carroll Swann: Um Leroy Nolder: looks Joseph Clark: Going a bit crazy over here. Leroy Nolder: crazy. Carroll Swann: Okay. Joseph Clark: Thank you. Carroll Swann: You Leroy Nolder: Um not now. Carroll Swann: should have one of Leroy Nolder: Oh. Carroll Swann: those things and you can just take it off. Leroy Nolder: Yeah. Carroll Swann: Ta-da. Leroy Nolder: Oh, where are the hinges? Joseph Clark: Okay, so this is Carroll Swann: Right. Joseph Clark: our look and feel presentation, Carroll Swann: Mm Joseph Clark: the Carroll Swann: 'kay. Joseph Clark: final our final presentation. And we'll first look at the exterior of what we've uh come up with over there. Um Leroy Nolder: 'Kay. Joseph Clark: It's Leroy Nolder: You able Joseph Clark: have Leroy Nolder: to look? Joseph Clark: a a plastic body Leroy Nolder: Yep. Joseph Clark: 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 Carroll Swann: Mm-hmm. Joseph Clark: 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. Carroll Swann: Okay. Joseph Clark: 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, Leroy Nolder: The Joseph Clark: it's Leroy Nolder: black and white touch screen Joseph Clark: yeah Leroy Nolder: wherein Joseph Clark: yeah, it would Leroy Nolder: people Joseph Clark: be sort Leroy Nolder: can Joseph Clark: of inset into the into Carroll Swann: Mm. Joseph Clark: the top Carroll Swann: So Joseph Clark: and Carroll Swann: it's Joseph Clark: the Carroll Swann: flush. Joseph Clark: buttons at the bottom Leroy Nolder: Right. Joseph Clark: would d so so it'll fully close flat. Carroll Swann: Oh right, okay, Joseph Clark: Yeah, Carroll Swann: yeah. Joseph Clark: 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 Carroll Swann: So Joseph Clark: a Carroll Swann: put Joseph Clark: bit Carroll Swann: it Joseph Clark: of Carroll Swann: in the top section rather than the bottom sections, Joseph Clark: Yeah. Carroll Swann: 'cause Leroy Nolder: Mm-hmm. Carroll Swann: it's the top Joseph Clark: Yeah. Carroll Swann: part that's okay. Joseph Clark: 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 Russell Virgil: Or something. Joseph Clark: then yeah. It wo it won't shout out I'm here or something. It'll just shout out I'm here, Carroll Swann: Okay. Leroy Nolder: 'Kay. Joseph Clark: or something Carroll Swann: I'm under Joseph Clark: to Carroll Swann: the sofa. Joseph Clark: similar effect. Leroy Nolder: Ah Carroll Swann: Or, that would be too complicated. Leroy Nolder: oka Joseph Clark: 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. Carroll Swann: Infrared. Joseph Clark: 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 Carroll Swann: Like Joseph Clark: put it on. Carroll Swann: here. Joseph Clark: Yeah, yeah, something like that. Carroll Swann: Okay. Leroy Nolder: Infrared could be Carroll Swann: Actually, Leroy Nolder: here Carroll Swann: no, Leroy Nolder: also. Carroll Swann: it would be it would have to Joseph Clark: Yeah, Carroll Swann: be on Joseph Clark: on Carroll Swann: the Leroy Nolder: Yeah, Joseph Clark: the front Leroy Nolder: here. Joseph Clark: on the Carroll Swann: on Joseph Clark: front Carroll Swann: the front. Joseph Clark: side of that, yeah. Carroll Swann: Oh right, yeah, okay, Leroy Nolder: So when Carroll Swann: yeah, Leroy Nolder: it's Carroll Swann: I've got Leroy Nolder: even Carroll Swann: you. Leroy Nolder: if it's open here, the Carroll Swann: It's Leroy Nolder: signals Joseph Clark: So Carroll Swann: still Joseph Clark: when Leroy Nolder: would Carroll Swann: pointing, Leroy Nolder: go. Joseph Clark: you've actually got Carroll Swann: yes. Joseph Clark: it open, it would be Leroy Nolder: Yeah. Joseph Clark: facing the T_V_. Carroll Swann: Yeah, that would make sense. Joseph Clark: 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 Leroy Nolder: This one right here. Joseph Clark: 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, Carroll Swann: Okay. Joseph Clark: 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. Leroy Nolder: Which Carroll Swann: But Leroy Nolder: is Carroll Swann: not interfering with Joseph Clark: No Carroll Swann: the Joseph Clark: d Carroll Swann: outside Joseph Clark: not Carroll Swann: kind Leroy Nolder: No. Joseph Clark: not Carroll Swann: of Joseph Clark: actually. Carroll Swann: look of the product Joseph Clark: No, Carroll Swann: once Joseph Clark: not Carroll Swann: it's Joseph Clark: uh interfering with l the whole look of Leroy Nolder: Look up Joseph Clark: the Leroy Nolder: to it. Joseph Clark: the Carroll Swann: Okay. Joseph Clark: product when it's uh on the thing. And finally that's how we put the fashion back into electronics, as Carroll Swann: Thank Joseph Clark: that Carroll Swann: you Joseph Clark: is Carroll Swann: very much. Joseph Clark: that's Leroy Nolder: Yay. Joseph Clark: the company logo. Carroll Swann: Wrapping it all up, Russell Virgil: Well done. Carroll Swann: okay. Um I've now got evaluation criteria. Russell Virgil: Certainly. Leroy Nolder: So this is the one. Sorry. Carroll Swann: It's to be presented. Joseph Clark: There Russell Virgil: Logged in? Thank you. Joseph Clark: you go. Russell Virgil: Oops. Carroll Swann: Okay. Leroy Nolder: Evaluation. Leroy Nolder: Mm um I I think this is chip. Carroll Swann: It's quite similar to what it was before, though. Russell Virgil: Okay. Carroll Swann: Sorry. Russell Virgil: 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 Leroy Nolder: Mm-hmm. Russell Virgil: 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 Joseph Clark: Yeah. Russell Virgil: do a preliminary rating of all those criteria on the whiteboard here. Leroy Nolder: Mm-hmm. Russell Virgil: Does that seem clear? Any questions there? Leroy Nolder: Ah, it's perfect. Russell Virgil: So we're going to look at these Leroy Nolder: Is it Russell Virgil: crite Leroy Nolder: everybody is going to evaluate, or just the Russell Virgil: Yes, Leroy Nolder: Market okay. Russell Virgil: we're going to come to w we'll discuss each one Carroll Swann: Mm-hmm. Russell Virgil: and we'll come to a consensus rating between one and seven. Carroll Swann: Okay. Russell Virgil: Is that okay? Leroy Nolder: 'Kay. Russell Virgil: 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. Carroll Swann: Just write small. Russell Virgil: 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? Carroll Swann: Yeah. Leroy Nolder: Yeah, Joseph Clark: Yeah, Leroy Nolder: so Joseph Clark: okay. Leroy Nolder: you Carroll Swann: That Leroy Nolder: can Russell Virgil: Okay. Carroll Swann: works. Russell Virgil: So I'll just separate the ratings by obliques, and if we go one, two, three, four, we know who's who. Joseph Clark: Yeah. Carroll Swann: Mm-hmm. Russell Virgil: 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. Carroll Swann: I would agree. Joseph Clark: Yeah, Russell Virgil: I'll just Joseph Clark: I'd Russell Virgil: go Joseph Clark: uh Russell Virgil: this way. Carroll Swann: Okay. Joseph Clark: yeah I'd Leroy Nolder: 'Kay. Joseph Clark: probably put it uh two yeah, two Russell Virgil: Two. Joseph Clark: or three. No, three. Three. Russell Virgil: Okay. Carroll Swann: I would say two. Russell Virgil: Two. Leroy Nolder: I would say four. Russell Virgil: A four, okay. Leroy Nolder: Mm-hmm. Russell Virgil: Adding those up, we've got a six and a five, eleven divided by four is what? Uh two and three quarters, Joseph Clark: Mm Russell Virgil: it that Joseph Clark: yeah. Leroy Nolder: Almost Russell Virgil: right. Leroy Nolder: three. Russell Virgil: Two and three quarters? Leroy Nolder: I think yeah. Joseph Clark: Yeah, yeah. Russell Virgil: Okay. Two point seven five, there we go. Okay, criteria B_, criterion B_, technologically innovative. I would give that a three. Joseph Clark: I'd give it a one. Russell Virgil: Okay. Not that you're biased Joseph Clark: No, no, Russell Virgil: in Joseph Clark: not Russell Virgil: that Joseph Clark: at Russell Virgil: it Joseph Clark: all. Russell Virgil: the designer. Carroll Swann: A two. Leroy Nolder: Oh sorry, I I got it wrong. The first one rating, I'm sorry. Can you just make it two? Russell Virgil: The average Leroy Nolder: The first. Russell Virgil: oh, Leroy Nolder: Yeah, Russell Virgil: for you? Leroy Nolder: I I just it Russell Virgil: You Leroy Nolder: the Russell Virgil: want Leroy Nolder: other Russell Virgil: your Leroy Nolder: way. Russell Virgil: rating to be a two? Leroy Nolder: Uh in Russell Virgil: Is that what you're saying? Leroy Nolder: Yep, I just Russell Virgil: Okay. Leroy Nolder: got Russell Virgil: So, I'll work out the average for that again at the end. It's a very slightly altered Okay, and we're just Leroy Nolder: two Russell Virgil: waiting Leroy Nolder: point f Russell Virgil: for your Carroll Swann: It's Russell Virgil: rating Carroll Swann: just two Russell Virgil: f Carroll Swann: point five for that one. Russell Virgil: Two Joseph Clark: Yeah. Russell Virgil: point five, okay. Losing one decimal place, Leroy Nolder: One is Russell Virgil: that's Leroy Nolder: a, Russell Virgil: okay. Leroy Nolder: seven is false, okay. Russell Virgil: So what are you rating for this one, Paw? Leroy Nolder: Two. Russell Virgil: Two, okay. So that is eight. That brings it down to two, nice Joseph Clark: Two. Russell Virgil: and simple, yeah. Okay, ease of use. Easy to use? Based on what you've said there, I would say a one, true. Joseph Clark: Two. Russell Virgil: Two. Carroll Swann: I would say a two. Russell Virgil: A two, okay. Carroll Swann: I would say a two. Leroy Nolder: Two. Russell Virgil: Two. I should've said a two to make the arithmetic easy, shouldn't I? We'll just put almost two, because Carroll Swann: One Russell Virgil: I'm not Carroll Swann: point Russell Virgil: gonna get Carroll Swann: seven Russell Virgil: into silly decimal Carroll Swann: f five. Russell Virgil: places. Joseph Clark: Yeah. Carroll Swann: Okay, Russell Virgil: Okay. Carroll Swann: mm-hmm. Russell Virgil: Or we or if we want to really bring it down, we can do later. Um Joseph Clark: D_. Russell Virgil: mm now we're looking at it incorporates current fashion trends, now that's particularly Joseph Clark: One. Russell Virgil: in relation to our market research findings about the spongy texture to the exterior and the fruit and vegetable design colours. Joseph Clark: Yeah. Russell Virgil: Right. So I'm just thinking, before I give it my rating, you were limited in the use of materials for your prototype here. Joseph Clark: Yeah, Russell Virgil: Is this Joseph Clark: that's Russell Virgil: actually going to be the colours that you Joseph Clark: No, Russell Virgil: would use? Joseph Clark: no, the the base colour was um Leroy Nolder: White. With Joseph Clark: white Leroy Nolder: for the plastic? Joseph Clark: or or Leroy Nolder: Uh Joseph Clark: like Leroy Nolder: blue. Joseph Clark: or l sort of a light blue, but Russell Virgil: Right. Joseph Clark: the changeable fa faces would uh allow you to get any basically Leroy Nolder: Any Joseph Clark: any one of a number of colours that uh Russell Virgil: So Joseph Clark: th it's Russell Virgil: we could Joseph Clark: full Russell Virgil: use Joseph Clark: sort Russell Virgil: any Joseph Clark: of customised. Russell Virgil: strong fruit and veg colours and that's what Leroy Nolder: Right. Russell Virgil: we're Joseph Clark: Yeah, Russell Virgil: intending to do. Carroll Swann: Mm-hmm. Joseph Clark: yeah, Leroy Nolder: Mm-hmm. Joseph Clark: yeah Russell Virgil: Okay. And the Joseph Clark: and Russell Virgil: spongy feel is no problem with that. Joseph Clark: No, Leroy Nolder: Yeah, Joseph Clark: no, Leroy Nolder: because Joseph Clark: 'cause Leroy Nolder: you'll Joseph Clark: th Leroy Nolder: be Joseph Clark: that's Leroy Nolder: having a Joseph Clark: that's the the spongy feel would be Leroy Nolder: Because Joseph Clark: in Leroy Nolder: of the Joseph Clark: the Leroy Nolder: rubber Joseph Clark: rubber Leroy Nolder: case. Joseph Clark: that you put round it, that Russell Virgil: Okay. Joseph Clark: otherwise it's just sort of hard plastic. Russell Virgil: to be a one for Russell Virgil. Joseph Clark: Yeah, I'll give it a one as well. Russell Virgil: Yep. Everybody? Carroll Swann: One. Russell Virgil: Okay. Leroy Nolder: One. Russell Virgil: That part was nice and easy. Joseph Clark: Yeah. Leroy Nolder: Mm. Russell Virgil: Okay. Uh moving on to does the design minimise repetitive strain injury. I Joseph Clark: Mm. Russell Virgil: don't think we've really touched on that Joseph Clark: No. Russell Virgil: 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 Joseph Clark: Yeah. Russell Virgil: like that, and we found so many people did, how do you minimise that on such a small device? Carroll Swann: Well the type of button that we're gonna use in the bottom half, the material, minimises Russell Virgil: Mm-hmm. Joseph Clark: to be. Carroll Swann: R_S_I_ it's meant to. Russell Virgil: Mm-hmm. Carroll Swann: 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. Russell Virgil: Mm. Carroll Swann: So maybe because there's more space, it's not kind of moving around trying to Russell Virgil: Mm-hmm. Carroll Swann: hit accurately the buttons in between. Russell Virgil: Right. Carroll Swann: It's quite obvious just big buttons. Russell Virgil: Right. Carroll Swann: Um Russell Virgil: I think I'm gonna have to be neutral on that and give it a four. Joseph Clark: Yeah. Yeah, I'd uh I'd f I'd go for a five, Russell Virgil: A Joseph Clark: actually, Russell Virgil: five, okay. Joseph Clark: 'cause Carroll Swann: Four. Russell Virgil: Four and Leroy Nolder: Four. Russell Virgil: a four okay. Twenty one is that twenty one? So that's four point two five. Joseph Clark: Yep. Russell Virgil: 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 Joseph Clark: Yeah. Russell Virgil: designers come to any Joseph Clark: Yeah, Russell Virgil: dec Joseph Clark: it was Russell Virgil: real decision Joseph Clark: it was Russell Virgil: on that? Joseph Clark: uh a Leroy Nolder: Voice Joseph Clark: voice Leroy Nolder: r recognition. Russell Virgil: It was the Joseph Clark: voice Russell Virgil: I'm here Joseph Clark: recognition, Russell Virgil: thing, yep. Joseph Clark: yeah. Russell Virgil: And are we happy with the costs on that? That is going to Joseph Clark: Yeah, Russell Virgil: be feasible, Joseph Clark: yeah, that Russell Virgil: cost-wise. Joseph Clark: yeah, that's feasible. Russell Virgil: 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_. Joseph Clark: Um I think Russell Virgil: So if sombody's Joseph Clark: it would Russell Virgil: in the Joseph Clark: r Russell Virgil: other room or if T_V_s in different rooms, or. Joseph Clark: I think it would probably be a Carroll Swann: A standard. Joseph Clark: a stand it would be a stand it would be quite loud. Carroll Swann: It would Russell Virgil: Right. Carroll Swann: be. Russell Virgil: Okay. Joseph Clark: So it would be Russell Virgil: You Joseph Clark: s Russell Virgil: built into Joseph Clark: p Carroll Swann: And Russell Virgil: the Carroll Swann: if Russell Virgil: feature. Carroll Swann: you didn't Joseph Clark: yeah. Carroll Swann: hear it in the room that you were standing in, then you'd realise that it wasn't in that room, Russell Virgil: Okay. Carroll Swann: you'd go into another Joseph Clark: Yeah. Carroll Swann: room. Russell Virgil: Logical. That's a one for Russell Virgil. Joseph Clark: Yeah, one. Russell Virgil: One Carroll Swann: One. Russell Virgil: and one, good. Joseph Clark: I do realise that we might be being fairly biased, 'cause it is our product, but Russell Virgil: 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? Carroll Swann: I don't think so. Joseph Clark: W I thin yeah, Russell Virgil: We happy Joseph Clark: I Russell Virgil: to Joseph Clark: think Russell Virgil: go ahead? Carroll Swann: I think we yeah. Joseph Clark: yeah. Carroll Swann: I Russell Virgil: Yeah. Carroll Swann: think we're set. Russell Virgil: 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 Carroll Swann: Do Russell Virgil: more Carroll Swann: much Russell Virgil: to minimise Carroll Swann: apart from having Russell Virgil: that. Carroll Swann: a Joseph Clark: Mm. Carroll Swann: huge big Russell Virgil: I know. Okay. Well, I hope that's uh clear to the team. Is there anything you would like to to ask Russell Virgil about the findings before I sum up? Carroll Swann: Don't think Joseph Clark: No. Carroll Swann: so. Russell Virgil: Good. Fine then. I'll just leave it there. Oops. Carroll Swann: Okay, thank you. Leroy Nolder: Hmm. Carroll Swann: Okay, I've got finance here now. I'm gonna plug this in so you can all see it, if that's okay. Um. Russell Virgil: Oh yes. Leroy Nolder: You want Russell Virgil to b unplug that? Leroy Nolder: That's all. Yes. Carroll Swann: Thanks. Carroll Swann: Right. Leroy Nolder: Okay. Carroll Swann: 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? Joseph Clark: Yeah. Russell Virgil: Yes. Carroll Swann: 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? Joseph Clark: It was a regular chip Leroy Nolder: Chip Joseph Clark: on Leroy Nolder: on print. Joseph Clark: print and Carroll Swann: Double-curved. Joseph Clark: 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 Carroll Swann: Oh, Joseph Clark: yeah. Carroll Swann: right, okay. Thanks. Joseph Clark: Yeah, and Carroll Swann: So, would there be two? Joseph Clark: yeah, just a no, one reg v uh Carroll Swann: One chip. Joseph Clark: Yeah, one of them and one sample sensor and sample speaker. Leroy Nolder: Okay. Carroll Swann: Okay. Leroy Nolder: Yep. Joseph Clark: And they're double curved. No. Y Leroy Nolder: Single-curved. Carroll Swann: One double curve. Joseph Clark: Two, 'cause it's Leroy Nolder: Two Joseph Clark: two. Leroy Nolder: curves, yeah. Russell Virgil: But it has a slightly flattened bottom so it can sit. So it Carroll Swann: So Russell Virgil: can Carroll Swann: what's Russell Virgil: rest. Carroll Swann: a single curve then? Joseph Clark: Yeah, I'd say I'd say Russell Virgil: It Joseph Clark: it Russell Virgil: would Joseph Clark: was Russell Virgil: just Joseph Clark: w Russell Virgil: be a flat bottom Joseph Clark: yeah, Russell Virgil: with Joseph Clark: I Russell Virgil: one Joseph Clark: think Russell Virgil: curve. like Joseph Clark: I Russell Virgil: a domed Joseph Clark: think Russell Virgil: thing. Joseph Clark: it's Carroll Swann: So Leroy Nolder: Single-cu. Carroll Swann: just one double Russell Virgil: Mm. Joseph Clark: One double-curved. Carroll Swann: Yeah. Joseph Clark: And Carroll Swann: Um Joseph Clark: one no, Leroy Nolder: Plastic Joseph Clark: 'cause one Leroy Nolder: and rubber. Joseph Clark: yeah, one's double-curved, and then Russell Virgil: The other Joseph Clark: the Russell Virgil: curves Joseph Clark: other one's Russell Virgil: at the sides, but it's slightly flattened at the bottom so it doesn't roll over. Carroll Swann: Mm. Russell Virgil: Yeah. Carroll Swann: Um Joseph Clark: a plastic. Carroll Swann: we've got plastic and rubber, haven't we? Joseph Clark: Yeah. Leroy Nolder: Yeah. Plastic one and Joseph Clark: And Leroy Nolder: maybe Joseph Clark: special Leroy Nolder: rubber point Joseph Clark: colour. Leroy Nolder: five. No I think Carroll Swann: Um Leroy Nolder: rubber, since it's being used just as a casing, we can put point five. Joseph Clark: Yeah. Carroll Swann: Do you think? Leroy Nolder: Yeah, I think it allows the point five, yeah. We can use that. Joseph Clark: Yeah. Carroll Swann: Okay. Russell Virgil: What does it mean if you put point five for that? Leroy Nolder: It means we are not using a lot of rubber actually. We're using Carroll Swann: It would Leroy Nolder: just Carroll Swann: be like saying we're using Leroy Nolder: a very low quantity of rubber compared to plastic. Carroll Swann: See, it says case material. Russell Virgil: Mm-hmm. Carroll Swann: So we're not actually using plastic in the case, Joseph Clark: No, Carroll Swann: are we? Joseph Clark: no, that's it's as Carroll Swann: It's Joseph Clark: an Carroll Swann: including, Joseph Clark: extra. Carroll Swann: it's including. Russell Virgil: Right, okay. Joseph Clark: So that shouldn't that shouldn't be actually on there, because that's not incorporated in the cost of the remote you get. Russell Virgil: 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? Carroll Swann: Okay, we'll just put it in as we'll put in as half. Russell Virgil: Okay. Carroll Swann: Or sh we should just put it in as one, because the plastic is zero anyway. Joseph Clark: Yeah, Russell Virgil: Mm. Joseph Clark: okay. Carroll Swann: No, we don't step on anyone's toes. Okay, special colour, do we need that? Russell Virgil: Might do, if we go for some of the more exotic Carroll Swann: N yeah, Russell Virgil: aubergines Carroll Swann: okay. Russell Virgil: and such like colours. Carroll Swann: Interface. Leroy Nolder: Push-button. Joseph Clark: Yeah, the push-button's Leroy Nolder: One. Joseph Clark: one and L_C_ Leroy Nolder: An Joseph Clark: display one. Leroy Nolder: One. Joseph Clark: And buttons Carroll Swann: Buttons Russell Virgil: S Leroy Nolder: I think we could change the battery also. Instead of going for kinetic how about going for a standard battery. Russell Virgil: Has that not made any d if you click off that square now, has that not made any difference? Joseph Clark: Well Russell Virgil: Is it Carroll Swann: Has Russell Virgil: oh, Joseph Clark: yes. Russell Virgil: it's Carroll Swann: that Russell Virgil: brought Carroll Swann: not Russell Virgil: it Carroll Swann: gone Russell Virgil: slightly Carroll Swann: up? Oh no, Russell Virgil: down. Carroll Swann: it was seven five it's changed not Russell Virgil: So Carroll Swann: a Russell Virgil: is Carroll Swann: lot. Russell Virgil: is uncurved completely and just actually making the rubber case the curved thing, is Joseph Clark: Yeah. Russell Virgil: that going to make a difference? Leroy Nolder: Uncurved, flat. Russell Virgil: Oh, it's not made any difference, has it?. Joseph Clark: No, Russell Virgil: It's Leroy Nolder: No, Joseph Clark: we'll Russell Virgil: gone up Joseph Clark: have Russell Virgil: again. Leroy Nolder: it just Carroll Swann: Oh, it's Leroy Nolder: surprises Carroll Swann: not calculated Leroy Nolder: one. Joseph Clark: No, no, Carroll Swann: it. Joseph Clark: you've got Russell Virgil: Oh. Joseph Clark: to click off to calculate it again. Carroll Swann: Okay, there we go. Russell Virgil: It's brought it down slightly. Joseph Clark: C Carroll Swann: It's Joseph Clark: it Carroll Swann: not Joseph Clark: might Carroll Swann: a lot though. Joseph Clark: 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. Russell Virgil: Is Carroll Swann: We Russell Virgil: there Carroll Swann: haven't Russell Virgil: anything on Leroy Nolder: I Carroll Swann: been Leroy Nolder: don't Russell Virgil: the menu Carroll Swann: dealin Leroy Nolder: think so. Carroll Swann: we haven't been dealing with dollars Russell Virgil: No. Carroll Swann: though, I think Joseph Clark: No. Leroy Nolder: Ri I think it's in Euro. Carroll Swann: Okay, so the highest we've got is the electronics here. Um Russell Virgil: If we Carroll Swann: and Russell Virgil: tr Carroll Swann: the Russell Virgil: um. Carroll Swann: interface. Russell Virgil: If we moved away from our much loved idea of a kinetic battery and just Leroy Nolder: And Russell Virgil: went Leroy Nolder: going Russell Virgil: with the Leroy Nolder: to Russell Virgil: standard Leroy Nolder: a regular bat Russell Virgil: batteries, would that make a huge difference? Joseph Clark: Yeah, the Leroy Nolder: Yeah. Joseph Clark: standard, it um it would make one difference. The biggest one would be taking away if you took away Leroy Nolder: What I feel is, customers never said Joseph Clark: If you Leroy Nolder: anything Joseph Clark: to Leroy Nolder: about the battery. It's internal, nobody looks into the battery. Joseph Clark: Yeah. Leroy Nolder: But shape and colours, Russell Virgil: And people are Leroy Nolder: that's Russell Virgil: used Leroy Nolder: something Joseph Clark: If Russell Virgil: to buying Leroy Nolder: we Joseph Clark: if Leroy Nolder: shouldn't Russell Virgil: batteries, Joseph Clark: you take Leroy Nolder: comprimi Russell Virgil: they're not Joseph Clark: away Russell Virgil: gonna Joseph Clark: the Russell Virgil: say Joseph Clark: voice, Russell Virgil: I'm not getting Joseph Clark: I Russell Virgil: this, 'cause Joseph Clark: I Russell Virgil: I've got Joseph Clark: do Russell Virgil: to Joseph Clark: I Russell Virgil: buy Joseph Clark: don't Russell Virgil: a Joseph Clark: like Russell Virgil: battery Joseph Clark: to say Russell Virgil: for a Joseph Clark: it, Russell Virgil: remote Joseph Clark: but if you Russell Virgil: control. Joseph Clark: take away the voice recognition, then you've got it. Leroy Nolder: Where's that special form? Mm mm Russell Virgil: Should Leroy Nolder: mm. Russell Virgil: we see what difference it makes? Carroll Swann: Where's the Joseph Clark: Yeah i yeah. No Carroll Swann: where's Joseph Clark: 'cause Russell Virgil: Um Carroll Swann: the voice recognition? Joseph Clark: it's samples sens sample speaker. Carroll Swann: Right, Joseph Clark: If you Carroll Swann: okay. Joseph Clark: took away that, that'll make it twelve point three five. Carroll Swann: Well the kinetic is three. If we change it to the battery it's that's Joseph Clark: They Carroll Swann: minus three. Joseph Clark: n n yeah, but you p minus three plus two. Carroll Swann: Oh, right. I keep seeing zero. Carroll Swann: 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 Russell Virgil: Yeah. Carroll Swann: know, like an upgraded version. Joseph Clark: Yeah. Russell Virgil: Sure. Leroy Nolder: Mm-hmm. Carroll Swann: You could choose to have that Joseph Clark: But they Carroll Swann: or not. Joseph Clark: 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. Russell Virgil: But we're still working to Carroll Swann: So Russell Virgil: um Carroll Swann: should we just change the Russell Virgil: head Carroll Swann: design Russell Virgil: o Carroll Swann: specification then? Russell Virgil: We can put in our recommendations. Leroy Nolder: Make it Russell Virgil: If Leroy Nolder: costly. Russell Virgil: we if we're Carroll Swann: Yes. Russell Virgil: working to head office specifications as this is what this project team's working for, we can Joseph Clark: Yeah. Russell Virgil: put in our recommendations for what we've we've found and what we the consensus that we've come to as a result Carroll Swann: Mm-hmm. Russell Virgil: of Joseph Clark: We Russell Virgil: the meetings. Joseph Clark: c we could Russell Virgil: But we Joseph Clark: s Russell Virgil: need to work to that specification to start with. Joseph Clark: Yeah, Carroll Swann: Mm-hmm. Russell Virgil: And Joseph Clark: we Russell Virgil: I Joseph Clark: could say Russell Virgil: 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 Carroll Swann: Okay, we can Joseph Clark: Yeah, I Carroll Swann: make Joseph Clark: s Carroll Swann: the price fit, and then say if Joseph Clark: And Carroll Swann: we'd Joseph Clark: then say Carroll Swann: had Joseph Clark: we Carroll Swann: our Joseph Clark: recommend Carroll Swann: budget, we Russell Virgil: Mm. Carroll Swann: would've had this, Joseph Clark: Yeah. Russell Virgil: Yeah. Carroll Swann: because it also sets it apart from Russell Virgil: 'Cause Carroll Swann: the crowd. Russell Virgil: we've done all the background work Carroll Swann: They like Russell Virgil: to go Carroll Swann: their Russell Virgil: for Carroll Swann: gadgets, Russell Virgil: that if they want Carroll Swann: they like Russell Virgil: it. Carroll Swann: something that's completely different. Joseph Clark: Yeah. Carroll Swann: It's Russell Virgil: Yeah. Carroll Swann: s something completely different associated with your company. Right, okay, so Russell Virgil: So if we take voice recognition out Joseph Clark: That'll do it. Twelve point three Leroy Nolder: Yeah Joseph Clark: five. Leroy Nolder: we are close Russell Virgil: we are. Leroy Nolder: to the budget. Joseph Clark: Is it twelve point fif Leroy Nolder: Two Carroll Swann: It's Leroy Nolder: five. Joseph Clark: was it twelve Carroll Swann: two Joseph Clark: point Carroll Swann: point Joseph Clark: fifty? Carroll Swann: five. No, it's twelve point two five. Russell Virgil: Are you sure? Sorry, not meaning to doubt your words Carroll Swann: Yeah well two, Russell Virgil: there. Carroll Swann: twelve point two five times two is Russell Virgil: Right. Carroll Swann: twenty five, Russell Virgil: Are they Carroll Swann: isn't Russell Virgil: really Leroy Nolder: It's Carroll Swann: it? Russell Virgil: going Leroy Nolder: twelve Russell Virgil: to quibble Leroy Nolder: point five Russell Virgil: about Leroy Nolder: maybe, Russell Virgil: ten Leroy Nolder: then. Russell Virgil: P_? Or point zero one of a Euro? Which is less than ten P_. Leroy Nolder: I don't know what it said fifty percent of the cost. So Carroll Swann: I think Leroy Nolder: half of Carroll Swann: the agenda Leroy Nolder: the price would Carroll Swann: one Leroy Nolder: be Carroll Swann: was where the um price was, wasn't it? No. Leroy Nolder: I think it is the first one. Russell Virgil: That's today's kick off meeting, Carroll Swann: Twelve point five. Russell Virgil: Mm. Joseph Clark: Ah. Leroy Nolder: So we Russell Virgil: I Leroy Nolder: are under Russell Virgil: thought Leroy Nolder: the Russell Virgil: that's Leroy Nolder: budget. Russell Virgil: what it was. Carroll Swann: Well done, people. Russell Virgil: So we're okay. Joseph Clark: Okay. Carroll Swann: So is that uh got us covered for the electronics then? We don't need Joseph Clark: Yeah. Carroll Swann: something else to take that place? Joseph Clark: No. Carroll Swann: Okay. Joseph Clark: 'Cause that that was just a bought-on extra, you could just take that out and that would be fine, Carroll Swann: Okay. Joseph Clark: yeah. Leroy Nolder: Seems fine. Joseph Clark: Yeah, I think that's brilliant. Leroy Nolder: Except voice recognition, everything is Carroll Swann: Right, so we've done that. Okay. Product evaluation. We've done room for creativity, haven't we? Joseph Clark: Yeah. Carroll Swann: Because Leroy Nolder: Yeah. Carroll Swann: 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. Leroy Nolder: Mm-hmm. Joseph Clark: Yes. Leroy Nolder: Yeah. Carroll Swann: um in the sense that um did you feel like a team? Or did you feel like uh Joseph Clark: Yeah, I'd say, as a team. Russell Virgil: Although we had our separate Leroy Nolder: I think Carroll Swann: autonomy? Leroy Nolder: we Russell Virgil: tasks, Leroy Nolder: had a nice time. Russell Virgil: there was Joseph Clark: Yeah. Russell Virgil: so much interaction, so much that we needed to um Joseph Clark: Find out Russell Virgil: bounce Joseph Clark: from Russell Virgil: off Joseph Clark: each other, Russell Virgil: each Joseph Clark: yeah. Russell Virgil: 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 Joseph Clark: Yeah. Carroll Swann: Mm-hmm. Russell Virgil: where necessary. Leroy Nolder: 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. Carroll Swann: Thank you. How did you find it? Joseph Clark: 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. Carroll Swann: Yeah. Joseph Clark: 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 Carroll Swann: Yeah. Joseph Clark: yeah. Carroll Swann: 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, Joseph Clark: Yeah. Leroy Nolder: Yeah. Carroll Swann: 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. Joseph Clark: Mm. Carroll Swann: I like that. Russell Virgil: Yeah. Carroll Swann: Um teamwork. Well you two created that wonderful specimen of a Play-Doh model. Joseph Clark: Yeah, well. Leroy Nolder: I Carroll Swann: Um Leroy Nolder: think that was the best part of the Carroll Swann: uh I'm still not caught up. But that's nothing to do with the teamwork at all. Um Russell Virgil: Maybe we should think of branching out into children's toys and Carroll Swann: Maybe. Russell Virgil: fake mobile phones as a side line. And fake Leroy Nolder: 'Kay. Russell Virgil: R_C_s. Carroll Swann: No, that was quite fun. Um means, whiteboard, digital pens, etcetera, what does that mean? Any Russell Virgil: How do Carroll Swann: ideas? Russell Virgil: we evaluate Joseph Clark: Discuss Russell Virgil: the materials Joseph Clark: which ones Russell Virgil: we had for communicating Joseph Clark: yeah. Russell Virgil: and sharing information? Joseph Clark: Yeah. Russell Virgil: Could it've been better, was it adequate? Joseph Clark: Yeah, I think I think we probably woulda used the outer email system more, had we actually Carroll Swann: Had time to kind of Russell Virgil: Mm. Joseph Clark: had had more time and if we'd been separated more. Carroll Swann: Yeah, 'cause we could just sort of say, Joseph Clark: Yeah. Carroll Swann: sorry what did you say about that or what do you think about that, Joseph Clark: Yeah. Carroll Swann: rather than having to email it, yeah. Joseph Clark: Yeah. Russell Virgil: Yeah. Carroll Swann: But it was nice having it there. Um like the whole picture of the thing. Leroy Nolder: Yeah, moving around the room. Russell Virgil: Yeah. Leroy Nolder: But I think it's good, like uh we spent times individually. Leroy Nolder: I never thought of a remote control with a flip top. Carroll Swann: Yeah, I think it's new Russell Virgil: It's Carroll Swann: ideas Russell Virgil: really borrowing Carroll Swann: in general, Russell Virgil: from Carroll Swann: rather Russell Virgil: other areas, Joseph Clark: Yeah. Carroll Swann: than Russell Virgil: it's, you know, bringing things from other areas in, it so it's I mean nothing is new, Carroll Swann: Mm. Russell Virgil: but it's applying it to a d in a different area. Joseph Clark: Vegetables. Leroy Nolder: That's mine. Joseph Clark: Yeah. Carroll Swann: Yeah, no. Leroy Nolder: Yeah, it's Carroll Swann: Well they have to come from somewhere, don't Russell Virgil: Absolutely, Carroll Swann: they? Russell Virgil: yeah. Leroy Nolder: The thing Carroll Swann: And Leroy Nolder: is Carroll Swann: as sh as w sorry, you Leroy Nolder: Yep, sorry, go on Sarah. Carroll Swann: go. Um as was shown by your presentation with all of the other controls, remote controls, no one's thought about it Joseph Clark: No. Carroll Swann: particularly. Russell Virgil: Mm-hmm. Carroll Swann: 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 Russell Virgil: Mm-hmm. Carroll Swann: w something we should think about, but obviously no one's put any Joseph Clark: Yeah, Carroll Swann: great Joseph Clark: I Carroll Swann: deal Joseph Clark: do Carroll Swann: of thought into it. Joseph Clark: 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, Russell Virgil: Yeah. Joseph Clark: just jazz it up a bit. Carroll Swann: Mm. Joseph Clark: Uh Russell Virgil: Yeah. Joseph Clark: 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 Russell Virgil: Yeah, Joseph Clark: the D_V_D_ Russell Virgil: the focus Joseph Clark: player, Russell Virgil: isn't on Joseph Clark: the video Russell Virgil: to that, Joseph Clark: player, Russell Virgil: yeah. Carroll Swann: But then when Joseph Clark: the T_V_. Carroll Swann: it everything is really smart, Joseph Clark: Yeah. Carroll Swann: and you've just got this big chunk of black Joseph Clark: Yeah. Carroll Swann: thing sitting on your coffee table, it doesn't go, I Joseph Clark: No. Carroll Swann: mean if you could have something that's a proper funky Joseph Clark: Yeah. Carroll Swann: 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, Joseph Clark: Yeah. Carroll Swann: you would pray you would pay a lot extra, because it's individually being a plastic was being made for you. Joseph Clark: Yeah. Carroll Swann: But people could have anything that they wanted. Joseph Clark: Mm. Leroy Nolder: Surprising Carroll Swann: Because of the Leroy Nolder: to Carroll Swann: produ Leroy Nolder: Russell Virgil is like uh people give a lot of attention to modifying mobile phones, Carroll Swann: Mm. Leroy Nolder: like a real want to see a new launch or something like that. Joseph Clark: Yeah. Leroy Nolder: And new f television products coming up, but nobody giving uh much idea to this. Russell Virgil: I think Leroy Nolder: Like Sarah Russell Virgil: it's Leroy Nolder: was telling, Russell Virgil: really Leroy Nolder: everything's Russell Virgil: good that this has been very market research based, Leroy Nolder: Right. Russell Virgil: 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. Carroll Swann: Yes. Joseph Clark: Yeah. Russell Virgil: I see people wanting a model of the phone they were really happy with, and they can't get it anymore Carroll Swann: Yeah. Russell Virgil: and it's innovation for innovation's sake, and I think it's wonderful our company's so R_ and D_ based. Carroll Swann: Well, it's Leroy Nolder: Mm-hmm. Carroll Swann: innovation for money's sake. The Russell Virgil: Yeah. Carroll Swann: the people have to keep Russell Virgil: But Carroll Swann: buying. Russell Virgil: forcing it onto people, Carroll Swann: Yeah. Russell Virgil: yeah. It's things that, you know, they might want to buy the thing they Carroll Swann: And Russell Virgil: really Carroll Swann: you Russell Virgil: want. Carroll Swann: can't get you've got your handset that works fine, but you can't get the battery anymore Russell Virgil: Mm. Carroll Swann: for that type of phone, Russell Virgil: Mm. Carroll Swann: because the phones have moved on, things like Russell Virgil: Or Carroll Swann: that. Russell Virgil: there isn't a cover to fit it or Carroll Swann: Yes. Russell Virgil: whatever, yeah. Carroll Swann: It's madness. Um Russell Virgil: See I think Carroll Swann: 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 Joseph Clark: Well. Carroll Swann: for the building, do you think our budget includes everything, all the costs that are going out? Russell Virgil: I think it was just the produc uh just Joseph Clark: I Russell Virgil: the Joseph Clark: think Russell Virgil: production Joseph Clark: that was just Russell Virgil: cost Joseph Clark: the Russell Virgil: of the phone. Joseph Clark: the physical. Carroll Swann: So it looks well it looks like it's gonna be fifty percent profit, you've Joseph Clark: Yeah. Carroll Swann: still got Russell Virgil: Mm-hmm. Carroll Swann: all of the overheads to come out of that. So Joseph Clark: Yeah. Carroll Swann: maybe increasing it, you would also have to increase the price that it's sold at. Leroy Nolder: Maybe Joseph Clark: Yeah, Leroy Nolder: fifty Joseph Clark: I Leroy Nolder: percent Carroll Swann: But Joseph Clark: think Carroll Swann: I Leroy Nolder: more. Carroll Swann: think but you were saying that that's quite Joseph Clark: yeah Russell Virgil: But Joseph Clark: I Russell Virgil: I Joseph Clark: don't Russell Virgil: think in the remit Joseph Clark: from Russell Virgil: that Joseph Clark: the market Russell Virgil: we were given, Joseph Clark: research. Russell Virgil: it was very specific. I think we've done what we were required to do, Carroll Swann: Hmm. Russell Virgil: 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 Carroll Swann: Yeah. Russell Virgil: and Joseph Clark: No. Russell Virgil: find a way of raising the cash for. Joseph Clark: Yeah, it Russell Virgil: I Joseph Clark: was Russell Virgil: think we've done very well to get within budget and Carroll Swann: Mm. Russell Virgil: it still makes such an innovative item Carroll Swann: Yeah. Russell Virgil: that I think people are really gonna want. Leroy Nolder: Yeah. Carroll Swann: It's a shame it won't ever get made. Russell Virgil: I know. Carroll Swann: Maybe Russell Virgil: Maybe Leroy Nolder: Who Carroll Swann: it Russell Virgil: it Leroy Nolder: knows? Russell Virgil: will. Carroll Swann: will. Russell Virgil: Maybe they are gonna steal Carroll Swann: Maybe Russell Virgil: our ideas Carroll Swann: someone'll Joseph Clark: I Russell Virgil: and Joseph Clark: it's Russell Virgil: sell Carroll Swann: r Russell Virgil: it. Carroll Swann: run Joseph Clark: top secret. Carroll Swann: down and patent it. Joseph Clark: Um it's it is it's a conspiracy going on here. Carroll Swann: Um Joseph Clark: That's what it is. Carroll Swann: the project has been evaluated well and truly. Leroy Nolder: Yeah. Russell Virgil: Mm-hmm. Carroll Swann: Um and we've got the meeting survey and questionnaire. Leroy Nolder: There's a final questionnaire. Carroll Swann: 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 Joseph Clark: In Carroll Swann: role Joseph Clark: your Carroll Swann: as Joseph Clark: yeah. Carroll Swann: Project Supervisor, so good luck. Leroy Nolder: Celebration, you didn't talk about that. Carroll Swann: I think the celebration is the twenty five pounds. Either that or we'll be dancing on the desks. Oh. Russell Virgil: Questionnaire. Joseph Clark: Okay. Is that it then? Carroll Swann: Um yeah, just the last, I think. Joseph Clark: Awesome. Carroll Swann: I think I've got minutes for two of the meeting and the last thingy. Russell Virgil: Questionnaire done. Oh, I didn't have to rate you on how much you influenced the meeting this time. Joseph Clark: Was that not the questionnaire for the how you felt you'd done in your thing? Russell Virgil: Oh, right. But Joseph Clark: I Russell Virgil: do we not Joseph Clark: don't Russell Virgil: sometimes Joseph Clark: think. Russell Virgil: evaluate in these meetings Joseph Clark: Yeah, the Russell Virgil: too? Yeah. Joseph Clark: the s yeah. I think yeah, questionnaire seven was the one I did just before the meeting. Leroy Nolder: Yeah. Joseph Clark: Mm. Carroll Swann: I just got con

Carroll Swann went over decisions from the previous meeting. Joseph Clark presented the prototype and discussed its look, its internal components, and its interface. Russell Virgil 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. Carroll Swann 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. Russell Virgil 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. Carroll Swann instructed the group to fill out a final evaluation questionnaire.

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Darrell Bonds: Uh, making Jose Roby: Alright so Darrell Bonds: a Jose Roby: twenty Darrell Bonds: profit Jose Roby: five. Darrell Bonds: of fifty million Paul Baker: Mm 'kay. Darrell Bonds: So, it's Jose Roby: So yeah, Darrell Bonds: go Jose Roby: I've Darrell Bonds: gonna have to be be pretty damn Jose Roby: The only Darrell Bonds: trendy. Jose Roby: the only remote controls I've used usually come with the television, and Darrell Bonds: Yeah. Jose Roby: they're Paul Baker: Mm-hmm. Jose Roby: fairly Darrell Bonds: Yeah. Jose Roby: basic. So uh Darrell Bonds: 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 Paul Baker: Yeah Darrell Bonds: where Paul Baker: the universal Darrell Bonds: they're, Paul Baker: ones Darrell Bonds: yeah. Jose Roby: Mm. Paul Baker: Yeah. Darrell Bonds: So presumably that might be an idea to Jose Roby: But but Darrell Bonds: put Jose Roby: to Darrell Bonds: into. Jose Roby: sell it Dennis Priebe: Slim. Jose Roby: for twenty five you need a lot of neat features. For Paul Baker: Yeah. Darrell Bonds: Yeah, Jose Roby: sure. Darrell Bonds: yeah. Paul Baker: Mm-hmm, Darrell Bonds: And that's Paul Baker: it's Darrell Bonds: quite Paul Baker: about Darrell Bonds: a Paul Baker: that. Darrell Bonds: lot for a remote control. Jose Roby: Yeah, Paul Baker: Mm. Jose Roby: yeah. Paul Baker: 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 Darrell Bonds: Uh-huh. Paul Baker: black remote control functions, so maybe we could think about colour? Darrell Bonds: Mm-hmm. Paul Baker: 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, Darrell Bonds: Okay. Paul Baker: thought maybe something like if you lose it and you can whistle, you know those things? Darrell Bonds: The the keyrings, Paul Baker: Because we always Darrell Bonds: yeah Paul Baker: lose our remote Darrell Bonds: yeah. Paul Baker: control. Jose Roby: Right. Darrell Bonds: Okay, that's cool. Dennis Priebe: 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 Darrell Bonds: Okay. Dennis Priebe: and how complicated it is to use these remote controls as compared to other remote controls available in the market. Paul Baker: Okay. Dennis Priebe: like and apart from this, it should be having a good look also, because people really li uh like to play with it Paul Baker: Mm. Dennis Priebe: when they are watching movies or playing with or playing with their C_D_ player, M_P_ three player like Paul Baker: Mm-hmm. Dennis Priebe: any electronic devices. Paul Baker: Mm-hmm. Dennis Priebe: They really want to have something good, having a good design Paul Baker: Yeah. Dennis Priebe: in their hands, Darrell Bonds: Okay. Dennis Priebe: so, Darrell Bonds: 'Kay. Dennis Priebe: yes, all this. Jose Roby: Uh, Darrell Bonds: So, we're Jose Roby: what do Darrell Bonds: looking Jose Roby: we think a Darrell Bonds: for 'Kay. Jose Roby: What do we Darrell Bonds: We're Jose Roby: think a good size would be for this? Darrell Bonds: Sorry, Jose Roby: 'Cause Darrell Bonds: carry on. Jose Roby: I I know as you add more buttons to the remote it sometimes gets so big and clunky Paul Baker: Yeah. Jose Roby: and there's Darrell Bonds: Mm-hmm. Jose Roby: just like a hundred buttons on it, Darrell Bonds: Mm-hmm. Paul Baker: Yeah. Jose Roby: or you could have a really small slim one but then you could lose it easily. Paul Baker: Then you lose Darrell Bonds: Okay. Paul Baker: it, yeah. Kind of um, maybe more like a P_D_A_ kind of, just hand held, like, Darrell Bonds: For Paul Baker: 'cause Darrell Bonds: for uh remember we're trying to make it for twelve Euros fifty. Paul Baker: Yeah. No, I wasn't, no sorry I wasn't thinking of the screen of like Darrell Bonds: Okay Paul Baker: a P_D_A_ Darrell Bonds: well Paul Baker: but Darrell Bonds: right we'll have to um I'll we're k having another meeting in half an hour so Paul Baker: Okay. Darrell Bonds: 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. Dennis Priebe: Yeah. Darrell Bonds: 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. Jose Roby: Right. Darrell Bonds: Which will probably just usurp what I said so Paul Baker: So you want Dennis Priebe to look at shapes and everything you said? Darrell Bonds: Shapes and Paul Baker: Yep. Darrell Bonds: colours and Paul Baker: Okay. Darrell Bonds: um basically how to make it attractive. Uh. Paul Baker: Mm-hmm. Darrell Bonds: And you look at competition Dennis Priebe: Yep. Darrell Bonds: and design. Cool. Paul Baker: Okay. Jose Roby: Okay. Darrell Bonds: So we have Jose Roby: Wait Darrell Bonds: uh Jose Roby: for emails? Dennis Priebe: Uh. Darrell Bonds: Um. Jose Roby: Hmm. Darrell Bonds: Okay, groovy. And no doubt we'll get um Paul Baker: Oh no, Sorry Darrell Bonds: Sorry. Paul Baker: it's okay. Darrell Bonds: We'll get um warnings for next meetings as well. Paul Baker: Okay, cool. Darrell Bonds: Okay. I shall I can't imagine these are worth much. Okay. Dennis Priebe: Hmm. Darrell Bonds: 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. Darrell Bonds instructed Dennis Priebe to examine competitors' remotes, Paul Baker to research possible shapes and colors, and Jose Roby to research possible materials and the necessary internal components of the device.

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Christopher Maio: Um we are So the meeting will have about the same format as the last time. So switching over I've just left uh Gordon Sample: Mm-hmm. Christopher Maio: my first two screens. Um I have mailed you the minutes of the last meeting uh just to save time. Gordon Sample: Okay. Cool. Christopher Maio: Um and is there any questions you have that arised from last meeting that are particularly bothering you? Gordon Sample: Mm um. Christopher Maio: N Gordon Sample: No I don't think so. Christopher Maio: No? Okay, cool. Edward Sweeney: No. Christopher Maio: Then we shall start with a presentation from Raj. Ryan Anderson: Yeah. Hi, Ryan Anderson Raj, again Uh. in this meeting I I'm going to discuss about the trend watching, uh how these trends is going to affect our market potential and how important is this. So we have to look on this. First of all methodology. The met methodology to find out the trend was incl uh was done in a way We have done a rec not only a recent remote control market survey, but we also considered the latest fre fashion trends of the market, we think that this is also a factor which will affect our sales and profit. So what are our findings? In our uh in our findings we have seen that when we did our remote control market survey we found that uh people l uh people do have preference for tho fancy mobi uh f remote controls which look and feel very good, rather than having a functional look and feel uh good. So this sh this clearly indicates their preference for the design their outlook of the remote controls. So we should take into uh we should consider this factor as the most important factor, because this factor is twice as important, the second factor which is further ti twice the as important as the sec as uh the third factor. So this factor becomes the most important factor in our surv uh uh in our mark uh means in take in designing our rem uh remote controls. Gordon Sample: The last one is the most important one, is Ryan Anderson: No Gordon Sample: it? Ryan Anderson: the first Gordon Sample: Oh, sorry. Ryan Anderson: one is the uh the outlook of the mobile, the it should have a fancy outlook, Gordon Sample: Okay. Ryan Anderson: the fancy design Gordon Sample: Okay. Ryan Anderson: uh rather than just having a functional look and feel good, it should have a fancy look and foo feel good. The second most important aspect is that remote control should be a technologically uh innovative. We must have some technological advancement in the remote control tha rather than just putting it as it is as the other remo uh remote controls are. So it uh should be technologically innovative like glow-in-the-dark or speech recognition, something like that. So that indicates our technological advancement. Gordon Sample: Mm-hmm. Ryan Anderson: And the third most important aspect in the ta to take into consideration is that it should be easy to use, Gordon Sample: Mm-hmm. Ryan Anderson: like it shouldn't be too much co complicated, there shouldn't be too many buttons on this mobi uh remote control, it shouldn't be too complicated uh like this way. And it should be uh and customers should be provided with manuals that is easy to understand in their local language, something. So that they could know how to use these remote controls. When we did uh f fashions uh, recent fashion uh our recent fashion update shows that Gordon Sample: Sorry. Ryan Anderson: Ah yeah? Gordon Sample: I was just reading fruit and vegetables. Hard to know how we are going to incorporate that. Ryan Anderson: Y yeah uh yeah, we have to, because uh d you can see how people have related their clothes, shoes, and everything with fruits and vegetables, because the g world is now changing it's trend towards organic, Gordon Sample: Okay. Ryan Anderson: becoming more and Gordon Sample: Yeah. Ryan Anderson: more organic, becoming Edward Sweeney: We should make a big sponge lemon and Gordon Sample: Yeah. Ryan Anderson: Yeah. Edward Sweeney: then it'd be it would be yellow. Ryan Anderson: So Gordon Sample: Th Edward Sweeney: It's Yeah. Gordon Sample: that's Ryan Anderson: Yeah. Gordon Sample: very good. Ryan Anderson: So something Gordon Sample: Glow-in-the-dark. Ryan Anderson: like that we we should do. Gordon Sample: Okay. Ryan Anderson: And people uh the f feel of the material is expected to be spongy rather than just having a plastic look, hard look. Gordon Sample: Well, that's Edward Sweeney: Mm. Gordon Sample: good. That's Ryan Anderson: Yeah. Gordon Sample: what we kind of Ryan Anderson: Yeah. Gordon Sample: predicted Ryan Anderson: So Gordon Sample: anyway. Ryan Anderson: so that they could play with it while handi uh while handling it. Gordon Sample: Okay. Ryan Anderson: So that should also be taken Gordon Sample: Okay. Ryan Anderson: into consideration. So Gordon Sample: Okay. Ryan Anderson: these are my views. So Gordon Sample: spongy, not real spongy, you can Ryan Anderson: No it Gordon Sample: Do Ryan Anderson: ca Gordon Sample: you think like rubber would be good or does it Ryan Anderson: y Gordon Sample: really want to be Ryan Anderson: a The Gordon Sample: like gel kind of Ryan Anderson: rubber Gordon Sample: stuff? Ryan Anderson: which is good for health and which is quite disposable Gordon Sample: Okay. Ryan Anderson: that we Gordon Sample: Quite Ryan Anderson: can take Gordon Sample: disposable. Ryan Anderson: into co Yeah. Gordon Sample: Okay. Ryan Anderson: 'Cause we It shouldn't be have any harm to the environment also, Gordon Sample: Oh Ryan Anderson: because Gordon Sample: okay. Christopher Maio: Alright, Ryan Anderson: our company Christopher Maio: okay. Ryan Anderson: is very well for taking all these concerns into consideration, Gordon Sample: Uh-huh. Ryan Anderson: so we don't want to have any harm to the society, Gordon Sample: Okay. Ryan Anderson: so Christopher Maio: Fashion. Gordon Sample: Cool. Christopher Maio: Mm Ryan Anderson: So Christopher Maio: 'kay. Ryan Anderson: that's all. Christopher Maio: Fruit and veg, well there you go. Just what I think of Gordon Sample: Mm. Christopher Maio: when I think of a Gordon Sample: A remote control? Christopher Maio: remote control. Gordon Sample: Yeah. And were there any factors that weren't important in the survey, that they said we don't want? Ryan Anderson: S uh we Gordon Sample: Or Ryan Anderson: didn't Gordon Sample: was it just Ryan Anderson: find out any such Gordon Sample: Okay. Ryan Anderson: point. Uh Christopher Maio: Mm-mm-mm-mm. Ryan Anderson: yes, there could be, but we couldn't find out any, Gordon Sample: Cool. Ryan Anderson: so Christopher Maio: Mm-mm-mm-mm-mm. Gordon Sample: F_, what is it? Um. Christopher Maio: Function F_ eight. Gordon Sample: yeah. Christopher Maio: Hmm. Gordon Sample: Okay. Ryan Anderson: Yeah. Gordon Sample: No signal. Ryan Anderson: Oh no, Gordon Sample: Is that? Edward Sweeney: No, Ryan Anderson: Yeah, Edward Sweeney: it's got Ryan Anderson: uh yeah, Edward Sweeney: it's got Ryan Anderson: uh yeah. Edward Sweeney: it. Ryan Anderson: Yeah. Gordon Sample: Okay, Christopher Maio: Excuse Gordon Sample: and then Christopher Maio: Ryan Anderson. Gordon Sample: F_ five, right? Christopher Maio: Uh, yeah. Gordon Sample: Okay. Um okay, so the interface concept um. Yeah. The interface specification, what people um how they interact with it basically, I think. Um so the method, we looked at existing designs, what are the what's good about them, what's bad about them, um I looked at their flaws, so we're going to look at their flaws, everything. Um and what the survey told us and what we think would be good, so a bit of imagination. Christopher Maio: Mm 'kay. Gordon Sample: Uh the findings, I've got some pictures to show you as well. Christopher Maio: either. Gordon Sample: Yeah. Ryan Anderson: Hmm. Gordon Sample: Okay, so most remote controls use graphical interface, where you um have got s buttons and you point it rather than having the output as a a stream of text or something. Christopher Maio: Uh okay. Gordon Sample: Um and we also found that there's inconsistent layout, which makes it confusing. So I think for our remote control There is some inconsistency already in ec existing in between remote controls, but I think standard kind of um shape and uh play and those kind of but buttons like the the top right for on and off or something, I think, Christopher Maio: Right, Gordon Sample: people Christopher Maio: okay. Gordon Sample: find that Christopher Maio: Yeah. Gordon Sample: important,'cause then it's easy to use. And we've got some pictures of some uh new remote controls to show you. Do Christopher Maio: Excellent. Gordon Sample: I press Escape F_ five? Christopher Maio: Uh Gordon Sample: Or Christopher Maio: no Gordon Sample: just Christopher Maio: just escape Gordon Sample: Escape, Christopher Maio: should Gordon Sample: okay. Christopher Maio: uh Gordon Sample: Um, oh I still haven't got my glasses on. Yeah, okay. So these are the some of the pictures of existing ones. Edward Sweeney: Wow. Gordon Sample: I'll just walk you through them. This one is a voice recognition. And Christopher Maio: 'Kay. Gordon Sample: that's the kind Christopher Maio: Looks Gordon Sample: of idea Christopher Maio: pretty Gordon Sample: we're going Christopher Maio: complicated. Gordon Sample: for. There's um an L_C_D_ thing, which we thought could I thought could get a bit confusing and a bit Christopher Maio: Right, Gordon Sample: expensive Christopher Maio: okay. Gordon Sample: as well for us. This one is got a kind of scroll like a mouse, Christopher Maio: Mm-hmm, Gordon Sample: which Christopher Maio: like the middle button. Gordon Sample: Yeah. Christopher Maio: Okay. Gordon Sample: Um and But I'm not exactly sure how you'd use that, like Christopher Maio: Ah it's Gordon Sample: would Christopher Maio: kinda Gordon Sample: the Christopher Maio: like scrolling Gordon Sample: computer Christopher Maio: uh Gordon Sample: come Christopher Maio: right, well, if I s if I'm thinking of the right one, I've got the same thing in front of my monitor, you scroll it and the when you reach the sort of um menu item that you require, you press the Gordon Sample: Uh-huh, Christopher Maio: middle Gordon Sample: that's like Christopher Maio: of the scroll. Gordon Sample: the L_C_D_ one, is Christopher Maio: Right, Gordon Sample: it? Christopher Maio: okay. Gordon Sample: But the one below that has got like a little scroll function on the side. But I presume that the functions must come up on the T_V_ screen. Christopher Maio: Yeah, Gordon Sample: I Christopher Maio: presumably. Gordon Sample: think Ryan Anderson: Yeah. Gordon Sample: that's what that is. So these are just a few ideas. Again that's just quite boring shape, grey, looks quite space-agey, but too many buttons, I think Christopher Maio: Yeah, Gordon Sample: on Edward Sweeney: Uh Gordon Sample: that Edward Sweeney: it looks Christopher Maio: looks Gordon Sample: one. Edward Sweeney: threatening. Christopher Maio: like uh looks like something out Gordon Sample: Yeah, Christopher Maio: of a jet. Gordon Sample: it does look kind of dangerous. Edward Sweeney: It looks like Ryan Anderson: Hmm. Gordon Sample: Um Edward Sweeney: yeah. Gordon Sample: this one I thought was really cool. It's w it's got the programmability function that we talked about. You can put it in there, it's for your kids, and it's quite an organic shape and the little circle around there is pretty cool. Christopher Maio: Okay. Gordon Sample: And that's really easy to use, bright, so I like this one lot for our design. I think something like that would be good. Edward Sweeney: Wow. Christopher Maio: Yeah, Gordon Sample: Of course Christopher Maio: I m Gordon Sample: yellow. Christopher Maio: I mean the one thing I think about about these ones is um these kl uh secured areas um, I've seen a lot of them with the the cover missing. Gordon Sample: Right, Christopher Maio: So Gordon Sample: yeah. Christopher Maio: like have it hinge rather than sort Gordon Sample: Yeah, Christopher Maio: of clip on Gordon Sample: that's Christopher Maio: or whatever. Gordon Sample: true. Yeah. Um so maybe that could be built into one of the things and it comes up on the T_V_ or something. And this one, the over-sized one, I don't know about you, but I think it's a bit too gimmicky. I don't think Christopher Maio: Yeah. Gordon Sample: that will Christopher Maio: I mean is Gordon Sample: sell Christopher Maio: that not Gordon Sample: very Christopher Maio: sort Gordon Sample: well. Christopher Maio: of to assist the blind or something, is it? Gordon Sample: I guess so. I don't know. I think Christopher Maio: Strange. Edward Sweeney: Then Gordon Sample: that's a bit Edward Sweeney: d blind don't watch T_V_. Gordon Sample: Yeah Christopher Maio: No they do, Gordon Sample: exactly. Christopher Maio: they do. They Edward Sweeney: They Christopher Maio: listen Edward Sweeney: do? Christopher Maio: to it. Yeah. Gordon Sample: Yeah. And um this one is just pointing out. I like some of these things um the the raised symbols and everything, but pointing out um that this one the volume it is kind of pressing down, but it would actually go up, because Christopher Maio: Right, Gordon Sample: of the Christopher Maio: okay. Gordon Sample: shape. So that could that's a bit confusing. Um but the buttons on this I think are it's just showing you how you can have different different um buttons. They don't have to be all the same. So that's quite cool. Um. Christopher Maio: 'Kay but people tend to recognise certain shapes to do certain things anyway, Gordon Sample: Yeah, Christopher Maio: don't they? Gordon Sample: exactly. Um F_ five. Yes. So there are some of the findings. So we need to combine those ones um Christopher Maio: Brilliant. That's handy. Gordon Sample: Um yeah it is, just in time, very handy. Um so I think maybe incorporating that in our design would be good. It's you Christopher Maio: Okay. Gordon Sample: program it like you say, record, um and then, play, and then, record, play machine, and stuff like that, so that's And it's much Yeah. So that's quite cool. Uh personal preferences just some imagination, the raised symbols I thought were good, the L_C_D_, it does look smart, but I think maybe for our budget, do you think that would be a bit too expensive to have the Edward Sweeney: The L_C_D_ Gordon Sample: Yeah. Edward Sweeney: and the other stuff uh, I think. Gordon Sample: And the speech recognition, 'cause I think we're definitely going for the speech recognition, are we? Ryan Anderson: But in our market survey we have seen that people are willing to pay more, but Gordon Sample: Uh-huh. Ryan Anderson: they want the quality, they want f fancy look, they want some new design, something new. Christopher Maio: Okay. Gordon Sample: Uh-huh. Ryan Anderson: Uh Gordon Sample: But our budget, Christopher Maio: It's still Ryan Anderson: yeah. Christopher Maio: it's still got Gordon Sample: we've Christopher Maio: to get within Ryan Anderson: Yeah. Gordon Sample: Yeah. Christopher Maio: our twelve fifty, Ryan Anderson: So even Christopher Maio: you know. Ryan Anderson: if we increase our cost little bit, within uh some limits, and we give something new technological advancement as well as new design with fancy outlook, Gordon Sample: Uh-huh. Ryan Anderson: I think we will meet the requirements and we will be able to have a good sales Gordon Sample: Okay. Ryan Anderson: in the market. Gordon Sample: I'm not Christopher Maio: Okay. Gordon Sample: sure if Edward Sweeney: Ben Gordon Sample: the if Edward Sweeney: bana Gordon Sample: for twenty five Euros uh per uh twelve Euros fifty m Christopher Maio: Yeah. Gordon Sample: manufacturing cost, Christopher Maio: I can't see tha Although, th I mean Gordon Sample: The Christopher Maio: to Gordon Sample: L_C_D_. Christopher Maio: be to be sure they have got I mean they are going crazy with the L_C_D_ technology now, so that you've got your L_C_D_ T_V_s and everything so maybe the small Gordon Sample: Yeah. Christopher Maio: But I mean like I I the black and white, I guess, it just doesn't look funky enough. Gordon Sample: No. Christopher Maio: Um but, I mean, like even mobile phones or whatever have now have colour L_C_D_ screens, w Gordon Sample: Yeah. Christopher Maio: I ju Edward Sweeney: Hmm. Gordon Sample: S Christopher Maio: I mean I wouldn't know about the costs of them. Gordon Sample: Uh-huh. Edward Sweeney: But uh Christopher Maio: Twelve Edward Sweeney: price Ryan Anderson: And Christopher Maio: fifty. Ryan Anderson: the Edward Sweeney: not withstanding, is it, is be just overload? Ryan Anderson: Uh Gordon Sample: Yeah, that's Ryan Anderson: i Gordon Sample: the thing, because Christopher Maio: Possibly. Ryan Anderson: it will be easy because there will be, on L_C_D_ s screen, there will be different frent icons, they can just click Edward Sweeney: But but Ryan Anderson: ok okay, whatever Edward Sweeney: the Ryan Anderson: they Edward Sweeney: thing Ryan Anderson: wa Edward Sweeney: is when you use a remote control, you never look at it, right? Christopher Maio: Yeah. Edward Sweeney: You're looking at the Gordon Sample: Yeah. Edward Sweeney: T_V_ Christopher Maio: Yeah. Edward Sweeney: and Gordon Sample: That's true, yeah. Edward Sweeney: and it's uh It just seems kind of like a Gordon Sample: And one of the Edward Sweeney: a needless Gordon Sample: survey Edward Sweeney: th Gordon Sample: findings was that they want it easy to use, so I Christopher Maio: Right. Gordon Sample: think I'm not sure about the L_C_D_. It's a it's great, it's a good idea, but for our budget and for the thing we're trying to go for eas easy to use, it's not the thing we should go for, I think. Child-friendly, I thought this was good, as you pointed out the um the bit, it often goes missing especially with children, but it's a good shape and the organic is kind of we could make a vegetabley kind of round shape, I think. Edward Sweeney: So which Christopher Maio: Yeah. Edward Sweeney: vegetable? Christopher Maio: Well I mean we Gordon Sample: Yeah, Christopher Maio: could make a Gordon Sample: I know, carrot. Christopher Maio: Yeah. Well, si Edward Sweeney: Okay. Christopher Maio: since we're going for the uh the k the sort of company colours, I think your lemon wasn't that far Edward Sweeney: The the lemon. Christopher Maio: s Gordon Sample: Yeah. Edward Sweeney: Well what are the options? Christopher Maio: And if it doesn't work you know, Gordon Sample: But Christopher Maio: we've Gordon Sample: we don't Christopher Maio: just Gordon Sample: want Christopher Maio: made Gordon Sample: it to Christopher Maio: a lemon. Gordon Sample: be Yeah. Um the child-friendly, yeah. Easy to use, it seems quite easy to use. I like the d the different shapes of the buttons and Christopher Maio: Mm-hmm. Gordon Sample: stuff. I think Christopher Maio: I Gordon Sample: that's Christopher Maio: like Gordon Sample: a good idea Christopher Maio: I like Gordon Sample: to go Christopher Maio: the colourful Gordon Sample: for. Christopher Maio: buttons as well. Gordon Sample: Yeah. And the mouse one, I thought it was a good idea, because people use mo mice mouses now with the scrolling Christopher Maio: Yeah. Gordon Sample: thing. Um. Christopher Maio: I mean we are marketing to sort of twenty five to thirty Gordon Sample: Yeah. Christopher Maio: five, so most people will have come in contact with that Gordon Sample: S yeah. Christopher Maio: kind of use. Gordon Sample: So they'd be able to use that um, as I said I think i I'd presume it would come up on the screen. Christopher Maio: Yeah. Gordon Sample: Um so there Christopher Maio: And Gordon Sample: you Christopher Maio: that Gordon Sample: go. Christopher Maio: means tha that means you get to bump that bit to the T_V_ maker, so Gordon Sample: Yeah. Edward Sweeney: Oh. Gordon Sample: So that's um the user interface Christopher Maio: 'Kay. Gordon Sample: design. So Edward Sweeney: Okay. Gordon Sample: okay, I'll take this out now then. Edward Sweeney: Um Gordon Sample: There you go. Edward Sweeney: so I guess there are a lot of options that we're gonna have to choose from among, Christopher Maio: Yeah, Edward Sweeney: and Christopher Maio: looks Edward Sweeney: I'll Christopher Maio: like it. Edward Sweeney: I'll give you the uh, Gordon Sample: Mm. Edward Sweeney: I guess, technical considerations for those. Christopher Maio: Uh Edward Sweeney: And I'm gonna use the whiteboard, just 'cause we haven't used it. Christopher Maio: Yeah, I was just thinking the self same Edward Sweeney: Right. Christopher Maio: thing. Edward Sweeney: So, the way I'm gonna do this is uh we're gonna take a look at some old remote controls, see how they work, uh reuse the the vital kind of um essential pieces of it, and then we'll throw in our new innovations um and keep it all within budget. So uh Christopher Maio: Magic man. Edward Sweeney: yeah, looking inside a a very simple remote control. Um this is what they sent Ryan Anderson. 'Kay. Here's uh the competition, I suppose. Um you open it up, there's a circuit board inside, Christopher Maio: Mm-hmm. Edward Sweeney: um and there's a a chip, a processor, the T_A_ one one eight three five, which um receives input from the buttons, Christopher Maio: So Edward Sweeney: and Christopher Maio: this Edward Sweeney: ch Christopher Maio: is a standard off the shelf kind of a chip, is it? Edward Sweeney: Right, it's very they're very cheap remote. This remote costs nothing, you know. Um so that takes a signals from the buttons and translates it into a sequence of pulses that it then sends to the to the amplifier, which is made of some transistors and amplifiers, op-amps, and then that gets sent to the uh to the L_E_D_ light, which I can kinda see is that little red light bulb Gordon Sample: Mm-hmm. Edward Sweeney: at the end, Christopher Maio: Right. Edward Sweeney: and that sends out the infrared uh light signal to the television. Oh here it is. Um so this is kind of the the bear essentials that we need to have in our remote control, because Christopher Maio: Okay. Edward Sweeney: it it defines Christopher Maio: So Edward Sweeney: the uh Christopher Maio: can we make them to pretty much any size we like or is there a minimum Edward Sweeney: R Christopher Maio: or? Edward Sweeney: Um no, I mean this is a very old one, so now with the new technology this is a Christopher Maio: They gotta be Edward Sweeney: a minimally small and cheap thing Christopher Maio: Almost Edward Sweeney: to Christopher Maio: a Edward Sweeney: make. Christopher Maio: key-ring. Edward Sweeney: Right. So this is what we need to have for certain. Um. Christopher Maio: Okay. Edward Sweeney: So you know, as we said, we got the outer casing, which we have to decide, you know, what's it gonna be, um the board we have to use basically uh the same set-up, processor, um we'll probably use the more advanced processor than they had, amplifier and transmitter are all standard. Um so for the casing, uh this an e-mail I got from our manufacturing team uh, you know, we have a bunch of options from wood, titanium, rubber, plastic, whatnot, um latex, double-curved, curved. So Christopher Maio: 'Kay. Edward Sweeney: lots of choices, what do we think? Uh or Christopher Maio: Well. Edward Sweeney: sponge, I guess, isn't on there, right. Gordon Sample: Mm. Edward Sweeney: Organic Christopher Maio: Well, I mean like Edward Sweeney: sponge. Gordon Sample: I'm Christopher Maio: la Gordon Sample: not Christopher Maio: latex Gordon Sample: sure about the sponge. Christopher Maio: has a kinda spongy feeling to it, doesn't it. Um Edward Sweeney: Uh yeah, it's very elasticy for sure. Christopher Maio: Yeah. Gordon Sample: Yeah. Christopher Maio: And that would k also give it kinda durability and Gordon Sample: Yeah. Edward Sweeney: Um. Christopher Maio: and ther that's also f sorta relatively cheap to cast. Edward Sweeney: Yeah so Christopher Maio: Um so maybe s uh a sort of uh plastic initial plastic with a a latex kinda sheath? Edward Sweeney: Okay so, here are a a plastic, uh latex Gordon Sample: I like the rubber, the stress balls, I think, you know, Christopher Maio: Oh right, Gordon Sample: that Christopher Maio: okay. Gordon Sample: could be a bit of a gimmick like it's Edward Sweeney: Oh Christopher Maio: I don't Edward Sweeney: right. Christopher Maio: know what that Gordon Sample: good Christopher Maio: stuff Gordon Sample: to hold Christopher Maio: is. Gordon Sample: and Edward Sweeney: So something with give to it. Christopher Maio: Yeah. Gordon Sample: Yeah. Edward Sweeney: Okay. Gordon Sample: And Edward Sweeney: And Gordon Sample: that might be quite durable and easy to chuck around. Edward Sweeney: and the colour is yellow, right? Gordon Sample: Yeah, Christopher Maio: Or at least Gordon Sample: y Christopher Maio: incorporating, Gordon Sample: yellow Christopher Maio: yeah. Gordon Sample: incorporated, Edward Sweeney: Yellow, Gordon Sample: yeah. Edward Sweeney: okay. Um. Christopher Maio: I mean I forgot i we're sort of uh I don't know what other Gordon Sample: I think Christopher Maio: standard silver kind of Gordon Sample: Mm. Christopher Maio: Other parts or uh Gordon Sample: Yeah, the buttons w like, 'cause there's gonna be the the cover the the rubber or the plastic casing and then the buttons in probably Christopher Maio: Mm-hmm. Gordon Sample: two different colours or i if Edward Sweeney: Mm' kay. Gordon Sample: we're having buttons actually, Edward Sweeney: So Gordon Sample: I Edward Sweeney: yellow Gordon Sample: don Christopher Maio: Um. Edward Sweeney: for the body, and then what colour for the buttons? Christopher Maio: Um I quite like the multi-coloured buttons myself. Gordon Sample: Yeah. Edward Sweeney: So multi-coloured buttons. Gordon Sample: You do have ones like um play could be green or on and off is red, and stuff like that, yeah. Christopher Maio: Yeah or yeah a limit uh maybe Gordon Sample: Makes Christopher Maio: even Gordon Sample: it Christopher Maio: just Gordon Sample: easy Christopher Maio: a limited Gordon Sample: to use. Christopher Maio: multi-colour so it it doesn't look too childish, Gordon Sample: Yeah, Christopher Maio: perhaps. Gordon Sample: that's true, because that blue one did look Christopher Maio: Yeah. Gordon Sample: quite hardish. Edward Sweeney: Okay. Christopher Maio: Although I mean this uh uh also comes to shape as well. I mean if we are gonna make it a novel I mean double-curved sounds good to Ryan Anderson if Edward Sweeney: Okay. Christopher Maio: we're talking Gordon Sample: Mm-hmm. Christopher Maio: about sorta ergonomic and easy use, Gordon Sample: Mm-hmm. Yeah. Christopher Maio: a bit comfier, you know. Gordon Sample: Yeah. Edward Sweeney: Mm 'kay so the shape we wanna go Um how exactly? Maybe double Gordon Sample: Like uh an hour glass kind of figure, is that what you're thinking of, or Christopher Maio: Yeah Gordon Sample: just Christopher Maio: it's uh, Gordon Sample: like Christopher Maio: yeah, Gordon Sample: a Christopher Maio: that that'd be that's sort of comfortable to hold, easy to hold so you don't Gordon Sample: It's Christopher Maio: drop Gordon Sample: not Christopher Maio: it. Edward Sweeney: What about Gordon Sample: Yeah. Edward Sweeney: a banana? Yeah? Gordon Sample: We could make novelty remote controls. Edward Sweeney: Okay, Christopher Maio: Well, yeah, I mean like Edward Sweeney: like we could have a big banana shaped remote control, 'cause it's yellow fruit, Christopher Maio: Yeah, Edward Sweeney: right? Christopher Maio: yeah. Mm Gordon Sample: Yeah. Christopher Maio: and a lemon might be a Gordon Sample: But Christopher Maio: little Gordon Sample: then how Christopher Maio: hard Gordon Sample: would Christopher Maio: to Gordon Sample: you point Christopher Maio: grip. Gordon Sample: it? Ryan Anderson: Ah Christopher Maio: Yeah. Ryan Anderson: yeah. Mm-hmm. Gordon Sample: How would you point it? Edward Sweeney: Oh Gordon Sample: What Edward Sweeney: i it doesn't matter which end you point, I guess. We could have a little L_E_D_s on each end. Christopher Maio: They only cost pennies. Ryan Anderson: Yeah, I appreciate this idea, because then this this will help us in our advertisement also and we can relate with fruits and vegetables, the people's choices. That what our data shows that, Gordon Sample: Yeah. Ryan Anderson: so this w this Christopher Maio: Huh? Ryan Anderson: w Gordon Sample: y I'm I'm not sure about the banana idea. Edward Sweeney: So a Christopher Maio: Um. Edward Sweeney: spongy Gordon Sample: Rubber Edward Sweeney: banana Gordon Sample: banana. Christopher Maio: I mean Edward Sweeney: re Yeah. Christopher Maio: that that th Gordon Sample: Okay. Christopher Maio: does it does seem a bit uh again childish maybe. Gordon Sample: Yeah. Edward Sweeney: Okay, okay. Gordon Sample: I think maybe just draw on the kind of fruit and vegetable shape. And what else did you say about fashions? What was trendy? Ryan Anderson: Uh the fashion trend shows Christopher Maio: S Ryan Anderson: that fruits and vegetables, Edward Sweeney: See Ryan Anderson: like people uh Christopher Maio: And sponginess. Ryan Anderson: now Gordon Sample: And Edward Sweeney: So Gordon Sample: spongy, Edward Sweeney: maybe an an Ryan Anderson: Spongy. Gordon Sample: yeah. Edward Sweeney: unidentifiable fruit or Gordon Sample: Yeah. Edward Sweeney: fiable fruit or vegetable Gordon Sample: Yeah. Edward Sweeney: like so it would have a stem perhaps and Gordon Sample: Maybe, Edward Sweeney: a Gordon Sample: yeah. Edward Sweeney: maybe a it'd be s Christopher Maio: Huh. Gordon Sample: Like Edward Sweeney: axially Gordon Sample: what's Edward Sweeney: symmetric. Gordon Sample: what's that, I don't even know the name of it, some kind of, you know where it's like looks like a little snowman kind of thing. I don't know the name of that. Edward Sweeney: So it'd look like this kinda. Gordon Sample: Yeah, that's what I was thinking. Edward Sweeney: Like a gourd Christopher Maio: Uh. Gordon Sample: Yeah, Edward Sweeney: almost, Gordon Sample: maybe that's what they are. Edward Sweeney: or a squash of some sort? Gordon Sample: 'Cause that you can hold it in like the bottom bit and Edward Sweeney: Yeah, and it has a a clear top and bottom so Gordon Sample: Yeah. Edward Sweeney: y so you could say, you know, it transmits from this end. Christopher Maio: Yeah, why the hell not. Let's Gordon Sample: I don't know. Christopher Maio: that'll make us fifty Gordon Sample: What do you Christopher Maio: million Gordon Sample: guy Christopher Maio: Euros. Gordon Sample: What do you think? Christopher Maio: Um. Well, I guess it's kind of dra uh you don't necessarily have to have it sort of clearly identified as a fruit just Gordon Sample: No. Christopher Maio: to have that kind of fruitish shape, Edward Sweeney: Yeah. Gordon Sample: Yeah. Christopher Maio: yeah? Ryan Anderson: Yeah, then only we can relate it Christopher Maio: Yeah, Ryan Anderson: with Christopher Maio: we Ryan Anderson: something. Christopher Maio: can relate it by advertising Ryan Anderson: Yeah. Christopher Maio: or Ryan Anderson: Exactly. Edward Sweeney: Okay, so double-curved, single-curved, what do we feel? Christopher Maio: Yeah. Ryan Anderson: Or the public choose Gordon Sample: Uh-huh. Ryan Anderson: what they want. Christopher Maio: There's Edward Sweeney: Okay. Christopher Maio: a good man. There's a good idea. Gordon Sample: Okay. Edward Sweeney: Okay um, I guess, since you're the marketing guy. Ryan Anderson: Yeah, sure. Edward Sweeney: We'll Ryan Anderson: I will Edward Sweeney: uh Ryan Anderson: be happy to do that. Edward Sweeney: Okay, we could do that. Um. Gordon Sample: Okay. And buttons would, did we say? Uh different shapes of buttons? Christopher Maio: Um I l I su I mean for the specific functions, you know, up and down, uh Gordon Sample: Mm. Christopher Maio: play, stop. Edward Sweeney: Okay, Christopher Maio: They've Edward Sweeney: so Christopher Maio: got, I mean, they've got standard sort of intuitive um Edward Sweeney: so buttons. Christopher Maio: things that are always used. Edward Sweeney: Okay, just like that. Gordon Sample: Yeah. Christopher Maio: That's cool. I like it. Edward Sweeney: Okay. Christopher Maio: Um. Edward Sweeney: With the scroll-wheel or no? Gordon Sample: Yeah, what about the scroll wheel and speech recognition? Christopher Maio: Uh speech recognition, I think, so we need a microphone presumably. Edward Sweeney: Okay uh I could put the microphone here. Gordon Sample: Mm-hmm. Edward Sweeney: Okay there's the microphone. Christopher Maio: Yeah. Edward Sweeney: Where should I put Christopher Maio: I mean Edward Sweeney: the Christopher Maio: ho Edward Sweeney: microphone? Christopher Maio: h h wel are we sure that scroll wheel does give ease of use? Gordon Sample: Yeah, I'm not sure. Um I mean those ideas I saw were just for inspiration, I think. Christopher Maio: Glad, we're not doing Gordon Sample: Um Christopher Maio: this for real. Gordon Sample: yeah, I can no I'm not sure. I couldn Yeah. Christopher Maio: Yeah. Edward Sweeney: Okay. Christopher Maio: And uh I think if this this new software for the sound recognition is the Gordon Sample: Yeah. Edward Sweeney: Okay. Christopher Maio: microphone Edward Sweeney: So should the microphone be just anywhere on it or Christopher Maio: I would put it sort of sub-centrally, so it's Yeah. Gordon Sample: Yeah. Edward Sweeney: 'Kay there's the mic. Christopher Maio: So it can be sort of Gordon Sample: That's Christopher Maio: held Gordon Sample: cool. Christopher Maio: and w We really need really gonna need to hold it, if it's gonna be voice recognition. Edward Sweeney: Um n well we can Whoops. Christopher Maio: Oops. Edward Sweeney: Um. Christopher Maio: Um. Gordon Sample: So let's not use the whiteboard any more. Edward Sweeney: Yeah. Um. Christopher Maio: Upsidaisy. Edward Sweeney: Oops, sorry. Okay. Gordon Sample: And uh so what else was there? Um the What about the glow-in-the-dark thing, the strip around it? Are we just gonna Christopher Maio: I Gordon Sample: leave Christopher Maio: s Gordon Sample: that? Christopher Maio: I still like it. Um Gordon Sample: You still like it. Christopher Maio: but that's Ryan Anderson. Gordon Sample: 'Cause we've got the uh technological innovation with the speech Edward Sweeney: Right. Gordon Sample: recognition Christopher Maio: Yes, Gordon Sample: system. Christopher Maio: or maybe it's just going a bit uh too far. I mean we are pushing it probably with Gordon Sample: 'Cause Christopher Maio: funny Gordon Sample: um it Christopher Maio: fruit Gordon Sample: could Christopher Maio: shapes. Gordon Sample: Yeah. Christopher Maio: Um don't wanna sort of overkill. Gordon Sample: Especially with yellow. Mm. I dunno. Edward Sweeney: Hmm. Christopher Maio: 'Cause I mean like uh if we I mean how good is the speech recognition thing? Do we want to go for buttons at all, do we want to just have a device that maybe sits and pretends it's a fruit? Gordon Sample: Then you put it in the fruit bowl? Christopher Maio: Yeah, you know, and then Edward Sweeney: They Christopher Maio: you Edward Sweeney: can Christopher Maio: just Edward Sweeney: work Christopher Maio: tal Edward Sweeney: from Christopher Maio: I Edward Sweeney: a Christopher Maio: mean Edward Sweeney: You don't Christopher Maio: like Edward Sweeney: have Christopher Maio: everybody's Edward Sweeney: to hold it. Christopher Maio: got fruit bowl in front of the telly. Edward Sweeney: Yeah. Gordon Sample: Mm-hmm. Christopher Maio: Um. Edward Sweeney: I it could even encourage healthier habits for television watchers, Gordon Sample: Yeah. Edward Sweeney: you know they have Christopher Maio: Yeah. Edward Sweeney: uh fruits Christopher Maio: Make them Edward Sweeney: all round Christopher Maio: make Edward Sweeney: them. Christopher Maio: them think Edward Sweeney: Now Christopher Maio: of fruit, yeah. Ryan Anderson: Yeah. Edward Sweeney: just make sure they don't eat the remote. Christopher Maio: I mean uh Gordon Sample: Yeah, do we Christopher Maio: some Gordon Sample: need buttons? Christopher Maio: uh I l like think of a fruit that could sit sort of independently on its own like uh, I dunno, an apple. Gordon Sample: Mm. Christopher Maio: Then it's just apple so sort of Uh, Edward Sweeney: Yeah. Christopher Maio: yellow apples though Hmm. Gordon Sample: I quite like the shape. I quite like the design of that, uh 'cause that could sit on its own and Christopher Maio: Yeah. Gordon Sample: it's quite Christopher Maio: Okay, Gordon Sample: got Christopher Maio: yeah, Gordon Sample: a quite Christopher Maio: that's Gordon Sample: steady Christopher Maio: good. Gordon Sample: base. Christopher Maio: Groovy. Edward Sweeney: Okay. Gordon Sample: Um Edward Sweeney: But Gordon Sample: and Edward Sweeney: yeah Gordon Sample: as we say we n we don't wanna be too ridiculous with the fruit things Christopher Maio: Yeah, Gordon Sample: you know. Edward Sweeney: But yeah, about the speech thing, it doesn't have to be hand held or close. It can sit at a distance and Christopher Maio: Yeah. Edward Sweeney: pick Gordon Sample: Okay. Edward Sweeney: it up Christopher Maio: So Edward Sweeney: still. Christopher Maio: I mean like you could actually Yeah, Ryan Anderson: Or Christopher Maio: gives you Ryan Anderson: we Christopher Maio: the Ryan Anderson: can Christopher Maio: options. Ryan Anderson: we can do one thing, we can just have a remote control and casings of different different shapes, different fruit shapes Gordon Sample: Mm-hmm. Ryan Anderson: in such a way that a any casing can be could be fit into this mobile general piece. Gordon Sample: Mm-hmm. Ryan Anderson: So whatever people want, like if somebody want it in banana shape, we will put that casing onto that mobile phone, Gordon Sample: Mm-hmm. Ryan Anderson: okay, Christopher Maio: So a selection Ryan Anderson: it will look Christopher Maio: of casings. Ryan Anderson: l Uh yeah. Gordon Sample: Yeah, Ryan Anderson: In Christopher Maio: It Ryan Anderson: that Christopher Maio: kind Gordon Sample: 'cause Christopher Maio: of Gordon Sample: you Christopher Maio: fi Ryan Anderson: w Gordon Sample: said Christopher Maio: it fits Gordon Sample: about disposable, Christopher Maio: with f fits with Gordon Sample: didn't Christopher Maio: marketing Gordon Sample: you? Ryan Anderson: S s Christopher Maio: um Ryan Anderson: sorry? Gordon Sample: You said about disposable earli people want disposable things so Ryan Anderson: Uh Gordon Sample: we could Ryan Anderson: like Gordon Sample: do that, Ryan Anderson: if Gordon Sample: like Ryan Anderson: this Gordon Sample: have a Ryan Anderson: is Gordon Sample: choice. Ryan Anderson: a like if this is a mobile phone uh we will design casing in such a way like half of, we need not to have a full cover, Gordon Sample: Yeah. Ryan Anderson: we will just have a half of cover, okay? Christopher Maio: Like Ryan Anderson: If somebody Christopher Maio: like mobiles, Ryan Anderson: wants it Gordon Sample: Yeah. Christopher Maio: yeah. Ryan Anderson: i in banana shape, we will fit banana shape casing onto that, so it will give a banana shape look. If somebody wanted in apple shape we will design that, we will put we will put apple shape casing on that. It will give apple shape look. Gordon Sample: Okay. Ryan Anderson: So in that way you can have any, that means whatever you want, Gordon Sample: Okay. Ryan Anderson: without Gordon Sample: We still Ryan Anderson: uh yeah. Gordon Sample: need the buttons in the same places Ryan Anderson: Yeah, Gordon Sample: thought, don't Ryan Anderson: button will Gordon Sample: we? Ryan Anderson: be Christopher Maio: You Ryan Anderson: on Christopher Maio: can Ryan Anderson: the upper Christopher Maio: standardise Ryan Anderson: side, Christopher Maio: those, I mean. Ryan Anderson: buttons will be the on the upper side. Gordon Sample: Oh, that's the Ryan Anderson: Yeah, Gordon Sample: other side. Oh, Ryan Anderson: buttons Gordon Sample: okay. Ryan Anderson: will be on the upper side, lower side we will just put the casing, so half of that will be look Gordon Sample: Oh, half Ryan Anderson: the Gordon Sample: a fruit. Ryan Anderson: Yeah, Gordon Sample: Oh, Ryan Anderson: not Gordon Sample: okay, Ryan Anderson: not the Gordon Sample: okay. Ryan Anderson: upper side. So from lower you can, it means while you are holding of from this side you c you can have banana look or apple Gordon Sample: Okay, Ryan Anderson: look, whatever. Gordon Sample: okay. Ryan Anderson: So in that way we need not to d have different different shape mobiles everything, we will just design casings fruit shape. Gordon Sample: Okay. Edward Sweeney: Yeah Christopher Maio: I think Ryan Anderson: And Edward Sweeney: yeah. Christopher Maio: tho I think if you're gonna have a facia then you'd want to have it so that it does go over the buttons, 'cause when if you think about it if they're wanting it, 'cause they want to look at it, if they're using it, and what they want to look at is facing away from them. Gordon Sample: Mm Christopher Maio: It doesn't really Gordon Sample: mm. Christopher Maio: You know 'cause that'd be in the palm of their hand and they wouldn't be able to see Gordon Sample: Yeah. Christopher Maio: it, unless you have sort of you got the buttons options on one side, and you get the facia on the other side with a microphone so that you can place it face down. And you've got the facia, and you can just talk at the Gordon Sample: Mm-hmm. Christopher Maio: Maybe. Edward Sweeney: Okay, um so Christopher Maio: So you've narrowed it down to half a dozen options. Edward Sweeney: Yeah, s I guess we decided on material, right? So that that spongy latex rubber Gordon Sample: Yeah. Edward Sweeney: everything feel, Christopher Maio: Yeah. Edward Sweeney: and the colours we got down, Gordon Sample: Yeah. Edward Sweeney: and Christopher Maio: Yeah. Edward Sweeney: the shape, maybe we'll just make it kinda mix and match type of shape or Gordon Sample: Well, um because Well, I I'm not sure if we should go so far in the whole fruit thing, because I think we should maybe just take the inspiration from the fruit and uh Christopher Maio: Okay, Gordon Sample: because Christopher Maio: so we stick with what we've got there. Gordon Sample: what Yeah, w I think wh wha would we're trying to get to twenty five, thirty five year olds who want it quite trendy as well they said. They wanted something that looks fancy and I think maybe fruit could be a bit of a too much of a gimmick, but something ergonomically shaped and organic, like good to hold, based on fruits and natural things like that, Christopher Maio: Mm 'kay. Gordon Sample: because al already we're going a bit gaudy with the yellow, you know. Christopher Maio: Mm-hmm. Gordon Sample: I Edward Sweeney: Yeah. Gordon Sample: mean we could make it nice pale yellow. Christopher Maio: Well, it's kind of gotta be our company's yellow. Gordon Sample: Okay. Edward Sweeney: Okay. Gordon Sample: Okay. Christopher Maio: So again I mean like we could have, uh I mean, we could quite easily have the the main body be a different Gordon Sample: Yeah. Maybe we Christopher Maio: colour, Gordon Sample: could have Christopher Maio: but Gordon Sample: that Christopher Maio: have Gordon Sample: pale yellow and then an outside bit bright yellow with, you said, the logan the slogan. Christopher Maio: kinda going round, yeah. Edward Sweeney: Mm. Gordon Sample: Because Christopher Maio: Um I mean e even if I mean not necessarily that the um the whole body has to be of the company colour, so Gordon Sample: Yeah. Christopher Maio: you know um blue and yellow tend to go to we well together. So you have the main body blue with the yellow logo and slogan running Gordon Sample: Yeah. Christopher Maio: up one side of it kind Gordon Sample: Yeah. Christopher Maio: of thing. Gordon Sample: Uh-huh. Edward Sweeney: Mm-hmm. Christopher Maio: W sort of Edward Sweeney: Great. Um as for the energy source um, you know, almost every remote control uses just batteries, but we don't have to be limited by that. We can use a hand-dynamo. Um I don't Christopher Maio: Uh Edward Sweeney: know what that means, we crank Christopher Maio: It's Edward Sweeney: it? Christopher Maio: I think it's basically the more you move i it, it's got a wee thing inside that just kinda Edward Sweeney: Right, it's Christopher Maio: powers Edward Sweeney: like those Christopher Maio: it. Edward Sweeney: watches Christopher Maio: Uh Edward Sweeney: that you Christopher Maio: yeah. Edward Sweeney: c So, this Gordon Sample: Oh, Edward Sweeney: might Gordon Sample: a Edward Sweeney: be Gordon Sample: d Edward Sweeney: an idea for Gordon Sample: a Edward Sweeney: something Gordon Sample: dynamo? Edward Sweeney: that people really wanna grab, Ryan Anderson: Yeah, Edward Sweeney: you can shake it if it's Gordon Sample: Yeah. Edward Sweeney: out of power. Gordon Sample: Yeah, Christopher Maio: Yeah, I Gordon Sample: like Christopher Maio: like Gordon Sample: with Christopher Maio: that, Gordon Sample: those Christopher Maio: yeah. Gordon Sample: watches that you kind Christopher Maio: Yeah. Gordon Sample: of twist. Yeah Edward Sweeney: Okay. So Christopher Maio: Okay. Ryan Anderson: But Gordon Sample: that's Edward Sweeney: if Gordon Sample: quite Edward Sweeney: it if Gordon Sample: cool. Edward Sweeney: it's not working, Christopher Maio: You shake Edward Sweeney: I guess people's Christopher Maio: it and Edward Sweeney: natural Christopher Maio: scream at Edward Sweeney: reaction Christopher Maio: it. Edward Sweeney: anyway is to Christopher Maio: Yeah. Edward Sweeney: just Ryan Anderson: But Edward Sweeney: shake the thing. Gordon Sample: Yeah, it Ryan Anderson: but Gordon Sample: is, Ryan Anderson: do Gordon Sample: yeah. Ryan Anderson: you think that it will be a good idea to use dynamo, tha these type of cells? Because then people have to, well like if the cell is out Christopher Maio: It does leave Ryan Anderson: of Christopher Maio: them with Ryan Anderson: bat Christopher Maio: an obligation to Ryan Anderson: Yeah, to Christopher Maio: Especially Ryan Anderson: mo Christopher Maio: if they want to use it uh uh Ryan Anderson: Yeah. Christopher Maio: sp uh specifically as um voice activated. Ryan Anderson: Yeah, Christopher Maio: Then Ryan Anderson: because Edward Sweeney: Right. Gordon Sample: Yeah, Ryan Anderson: most Christopher Maio: if it's just Ryan Anderson: of the Christopher Maio: sitting Ryan Anderson: people Gordon Sample: then Christopher Maio: on the Gordon Sample: they have to pick it up and then activate Ryan Anderson: Yeah. Gordon Sample: it and then Yeah. Christopher Maio: Okay, okay. Gordon Sample: That's true. Edward Sweeney: Okay. Christopher Maio: Right um what are the other options? Edward Sweeney: Uh there's solar power. Ryan Anderson: Uh, Edward Sweeney: Um. Ryan Anderson: solar power will w also not be a good idea, because then they have to keep m their mobiles outside Christopher Maio: Yeah. Ryan Anderson: in Edward Sweeney: Yeah. Ryan Anderson: solar energy, and the days when there is no sola Christopher Maio: I'm Ryan Anderson: sunlight Christopher Maio: I'm with uh Raj Ryan Anderson: Yeah. Christopher Maio: on that, I Edward Sweeney: Okay, Christopher Maio: think, Ryan Anderson: Yeah. Edward Sweeney: so Christopher Maio: you Edward Sweeney: probably Christopher Maio: know, Edward Sweeney: just Christopher Maio: I've got I've Ryan Anderson: What Christopher Maio: got no Ryan Anderson: we Christopher Maio: I've got a north facing Ryan Anderson: w Christopher Maio: house, there's not really Ryan Anderson: yeah. Christopher Maio: ever sun Gordon Sample: But Christopher Maio: coming Ryan Anderson: I Gordon Sample: w Christopher Maio: in Ryan Anderson: think Christopher Maio: my Gordon Sample: like Christopher Maio: window. Ryan Anderson: we should Gordon Sample: just Ryan Anderson: a rechargeable Gordon Sample: normal light? Christopher Maio: Oh Ryan Anderson: battery Christopher Maio: that's true. Ryan Anderson: will be a good idea. They can Christopher Maio: I mean Ryan Anderson: they Christopher Maio: I Ryan Anderson: can Christopher Maio: w I Ryan Anderson: recharge Christopher Maio: w uh that Ryan Anderson: it. Christopher Maio: idea that I thought um just on the basis of like ridding them of batteries and that Edward Sweeney: Mm. Christopher Maio: kind of bother Gordon Sample: And we're Christopher Maio: is Gordon Sample: a very Christopher Maio: having Gordon Sample: environmentally Christopher Maio: a, Gordon Sample: friendly company, Christopher Maio: yeah, having Gordon Sample: aren't Ryan Anderson: Yeah. Gordon Sample: we as Christopher Maio: a Gordon Sample: well? Christopher Maio: rechargeable stand, so Gordon Sample: Yeah. Christopher Maio: that not only it doubles Ryan Anderson: Yeah. Christopher Maio: as a stand, but um for using it as uh recharging it, but also for using it Gordon Sample: Yeah. Christopher Maio: as sound recognition. Edward Sweeney: 'Kay. Gordon Sample: Like like a hand like one of those portable phones Christopher Maio: Yeah Gordon Sample: kind Ryan Anderson: Yeah, Gordon Sample: of thing. Christopher Maio: that Ryan Anderson: that's Christopher Maio: kind of thing. Edward Sweeney: Okay. Ryan Anderson: Yeah, exactly. Edward Sweeney: So uh a rechargeable battery. Christopher Maio: Yeah. Ryan Anderson: Yeah. Edward Sweeney: Okay. Christopher Maio: Rechargeable. Edward Sweeney: Um the user interface, the buttons, I guess we talked about this already. Gordon Sample: Mm. Christopher Maio: What's Edward Sweeney: Um. Christopher Maio: chip on print? What's Edward Sweeney: Hmm? Christopher Maio: Sorry, never mind. Edward Sweeney: Uh th the uh the electronics um, basically the more features we add um Oops, this one. So the more features we add the fancier chips we need to buy Gordon Sample: Mm-hmm. Edward Sweeney: and put in, which adds to the cost Gordon Sample: Mm-hmm. Edward Sweeney: as you can expect. Um. But uh I think we can keep it all under budget. So uh yes, so the speech thing you said our our techno our research and development department came up with some break-through. Gordon Sample: Mm-hmm. Edward Sweeney: So Christopher Maio: Yeah, Gordon Sample: Just Christopher Maio: and if Gordon Sample: in time. Christopher Maio: we if we're Edward Sweeney: just Christopher Maio: just Edward Sweeney: in time. Christopher Maio: having buttons and the speech then we're getting our cheapest option of chipping. Edward Sweeney: Right, right. Christopher Maio: That's good. Uh woah. Edward Sweeney: Yeah, Christopher Maio: Okay, Edward Sweeney: and Christopher Maio: we're Edward Sweeney: keeping Christopher Maio: we're kind Edward Sweeney: the L_C_D_ Christopher Maio: of uh Edward Sweeney: screen out. Christopher Maio: we're kind of um Excuse m I've just deleted that whole thing. Um we're kind of running out of time, so if you could Uh. Was that you? Um Edward Sweeney: Huh? Christopher Maio: that was your bit's covered, I just Edward Sweeney: Oh Christopher Maio: dele Edward Sweeney: yeah that Christopher Maio: I Edward Sweeney: was that Christopher Maio: just Edward Sweeney: was Christopher Maio: accidentally Edward Sweeney: it. Christopher Maio: deleted what I was supposed to say next. Ryan Anderson: Uh excuse Ryan Anderson, Christopher Maio: Um, Ryan Anderson: Bri Christopher Maio: yeah. Edward Sweeney: So Christopher Maio: Oh, yeah. Edward Sweeney: control F_ eight, right? Gordon Sample: Yeah, mine seems to have turned off. I can't Christopher Maio: And I just Gordon Sample: do Christopher Maio: touch Gordon Sample: anything. Christopher Maio: the pad. Ryan Anderson: You just touch the pad, yeah. Gordon Sample: No. Ryan Anderson: No? Christopher Maio: It's actually shut down. Gordon Sample: It's on, but there's nothing Christopher Maio: Okay, Gordon Sample: on the screen. Christopher Maio: um now Edward Sweeney: Try uh Christopher Maio: what Edward Sweeney: flipping the screen Christopher Maio: we Edward Sweeney: down. Christopher Maio: have uh our next meeting's in half an hour Edward Sweeney: 'Kay. Christopher Maio: and what I would like you guys to do is work on giving Ryan Anderson a model in clay. Edward Sweeney: Oh, I get to do it, too. Christopher Maio: Yeah. Gordon Sample: Cool. Christopher Maio: It's Edward Sweeney: Oh Christopher Maio: you guys. Edward Sweeney: neat. Christopher Maio: Yeah. So um, you know I mean, luckily we chose a nice simple shape. Gordon Sample: Yeah. Edward Sweeney: Yeah, Gordon Sample: Mm. Edward Sweeney: yeah. Christopher Maio: Um and further instructions will be sent by your personal coaches. Gordon Sample: Okay. Edward Sweeney: Okay. Ryan Anderson: That's great. Edward Sweeney: Save everything to the shared documents, is that right? Christopher Maio: Uh yeah, I hope Gordon Sample: Yeah. Christopher Maio: I can recover this, 'cause I've accidentally deleted it. Ryan Anderson: Mm-hmm. Christopher Maio: Which doesn't really help Ryan Anderson much. Gordon Sample: I think, I've saved mine already. Christopher Maio: Yeah, can you save that uh send that last one again, please, Raj, as I still Ryan Anderson: Yeah. Christopher Maio: can't find it on the Ryan Anderson: Uh it was under a different name. I will show you, in shared documents. Christopher Maio: Okay. Ryan Anderson: Uh working components. Oh, you didn't get that. Christopher Maio: No. Ryan Anderson: I will send new. Christopher Maio: Okay, thank you. Ryan Anderson: Uh I'll put it in shared documents, again. Christopher Maio: Um yeah, Project, Project Documents. Ryan Anderson: Project documents, sorry, I put it in the shared documents. Christopher Maio: Uh right, that's Ryan Anderson: Uh yeah. Christopher Maio: that's the that it goes there automatically if you put it in Project Documents. Project Documents is on the um desktop. Ryan Anderson: Right, that's great. But I cou can't open that, because it w asks uh for some username or password. Edward Sweeney: Oh. Christopher Maio: Really? Ryan Anderson: I'll show you. Edward Sweeney: Uh these lapel mics are trouble. Ryan Anderson: Ts Christopher Maio: Oh right, I think um Hold on. Ryan Anderson: Sorry. Uh. Christopher Maio: Yeah, I don't know if y it it just ca it just came up on my um on my agenda. S Um presumably there's clay somewhere. Um. Four. Ryan Anderson: Yeah, that's great. Christopher Maio: Whoops. Light, light, please. Light. Right, there you go. Ryan Anderson: Yeah, th thank you. Christopher Maio: Yeah, quite. And we're using this our basic chip set, so it's all Ryan Anderson: Oh sorry. Christopher Maio: good. Edward Sweeney: Are we done with our meeting? Ryan Anderson: Uh Christopher Maio: Um I think Ryan Anderson: excuse Christopher Maio: we're almost Ryan Anderson: Ryan Anderson, Brian. Christopher Maio: done, yeah. Ryan Anderson: You have Edward Sweeney: Yeah. Ryan Anderson: to keep your pen separate, because I used your pen. Christopher Maio: Oh oops. Sorry Ryan Anderson: S Christopher Maio: man. Uh okay, still didn't manage to get down all the last bits so we had rechargeable and Uh. Apples. Mm-mm-mm-mm-mm. 'Kay, so we came up with that, that's okay. What's supplements? Supplements. Uh uh. See. Gordon Sample: Cool. Fun. Christopher Maio: I shoulda something like that. If I kn see I I knew that. I shoulda sort of engineered it so we k ended up making a diffi difficult shape. Ryan Anderson: Hmm. Christopher Maio: Just for cruelty. Gordon Sample: Yeah. Ryan Anderson: Hmm. Gordon Sample: Star fruit. Christopher Maio: I wonder Ryan Anderson: So Christopher Maio: if they mean Ryan Anderson: sh Christopher Maio: like literally make it, sort of buttons Ryan Anderson: should Christopher Maio: and everything. Gordon Sample: No. Ryan Anderson: Should we leave Gordon Sample: Oh yeah, Ryan Anderson: now, Gordon Sample: we can do buttons. Ryan Anderson: Brian? Or Christopher Maio: Um. Ryan Anderson: we are going to discuss something? Christopher Maio: Uh no, I think that's us our discussion over unless anybody's got questions or confusions, Gordon Sample: No I'm good. Christopher Maio: 'cause I'm confused. Ryan Anderson: Yeah. Christopher Maio: Huh? Gordon Sample: Okay. Ryan Anderson: Excuse Ryan Anderson. Christopher Maio: Um uh we'll probably get questionnaire in a minute, it's a Gordon Sample: Mm. Ryan Anderson: Sorry. Thank you. Yeah. Christopher Maio: There we go. Warning, finish meeting now. Ryan Anderson: So. Christopher Maio: I rounded it up far too fast. Um. Where are we going? My Documents, that's not what I want. My Project Documents. There we go.

Ryan Anderson presented the results of a market survey that indicated users' most important preferences in remote control features. He discussed trends in fashion that should be incorporated into the prototype design. Gordon Sample compared the designs of several competitors' remotes to decide which features should be used in their own design. She discussed using voice recognition, an LCD screen, and color to make the device easier to use and to improve its look. Edward Sweeney went over all of the internal components and materials that will be incorporated in the design. He gave a layout of the placement of the components in the device. The group decided to use a rubber or latex material to give the device a spongy feel. He discussed the color and shape of the remote with the group and the placement of the components on the device. The group discussed colors and shapes further, and decided that the remote will be yellow, and perhaps having a fruit-inspired shape. The group decided to use a rechargeable battery and recharging stand. Christopher Maio instructed Gordon Sample and Edward Sweeney to construct the prototype.

amisum

train

Alan Hyatt: Okay. Nicholas Brown: Okay, almost there. Jon Valadez: Okay. We'll sta I'll use the PowerPoint I. How was that, was that fun? Alan Hyatt: Mm. Nicholas Brown: Yeah, yeah. Alan Hyatt: Very fun. Jon Valadez: Okay. Uh oh I've forgotten to mail you the minutes, but I will do. Nicholas Brown: Okay. Jon Valadez: Upsidaisy. Paul Berwick: Hmm. Jon Valadez: Um Um Paul Berwick: E Jon Valadez: we Paul Berwick: excuse Paul Berwick I forgot Jon Valadez: Yeah. Paul Berwick: my Jon Valadez: Alright, Paul Berwick: copy. Jon Valadez: okay, yeah. He's gonna get his pen. Alan Hyatt: Oh right. Jon Valadez: Um Will you guys first with your prototype um before we get to the good news? Nicholas Brown: Yeah, there's good news? Jon Valadez: Uh Nicholas Brown: Oh. Alan Hyatt: Mm. Jon Valadez: we have budget problems. Nicholas Brown: Oh. Cutbacks. Jon Valadez: I'm afraid you're all sacked. Oops. I don't even have on. Nicholas Brown: Hmm. Jon Valadez: Okay, have you Nicholas Brown: Okay. Jon Valadez: got a presentation to make? Paul Berwick: No, not Jon Valadez: No. Paul Berwick: mine Jon Valadez: Okay Paul Berwick: yet. Jon Valadez: so it's Nicholas Brown: Oh. Jon Valadez: just your your show. Nicholas Brown: Um maybe we should bring so that the camera can see. Yeah. Alan Hyatt: Okay. Sure. Nicholas Brown: Okay. Alan Hyatt: We made three Jon Valadez: Three? Alan Hyatt: for you. Jon Valadez: Oh. Alan Hyatt: Um one's based on the banana, one's based on the tomato and Jon Valadez: Tomato? Alan Hyatt: the other one Jon Valadez: What tomato? Alan Hyatt: is st Jon Valadez: I don't recall a tomato. Alan Hyatt: Look. Oh yeah, well yeah, we had v some red left over. So. Jon Valadez: Ah I see, okay. Alan Hyatt: Okay, so this is the um non to non uh no buttons one, or as mm few buttons as possible, Jon Valadez: Mm-hmm. Alan Hyatt: mainly speak recognition. The yellow there is the um Jon Valadez: Logo. Alan Hyatt: the slogan, yeah, Jon Valadez: Okay, Alan Hyatt: incorporate, Jon Valadez: brilliant. Alan Hyatt: it's very simple. If you do need buttons, you can flip it over, and there's some there, Jon Valadez: Okay. Alan Hyatt: um but mainly it's speech recognition. Jon Valadez: Okay, so the buttons would be like, you know individual users, or Alan Hyatt: Yeah. Jon Valadez: Yeah. Alan Hyatt: Yeah and yeah they might project things onto the screen which you can do on there. Jon Valadez: Alright, okay. Alan Hyatt: 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. Jon Valadez: Right. Alan Hyatt: Yeah, you guys can Jon Valadez: That's Alan Hyatt: have Jon Valadez: groovy. Alan Hyatt: a look at that Paul Berwick: Yeah. Alan Hyatt: if you want. Paul Berwick: Uh can Jon Valadez: Well I like the Paul Berwick: I Jon Valadez: feel of it, Paul Berwick: have Alan Hyatt: Yeah, Jon Valadez: I like the feel Alan Hyatt: sure. Jon Valadez: of it. Alan Hyatt: Um that one is Paul Berwick: Oh sorry Alan Hyatt: Oh Paul Berwick: s Jon Valadez: At Oh Alan Hyatt: no, it's delicate. Jon Valadez: dear. Alan Hyatt: That's that's already got its stand that one. That's it stand. Jon Valadez: Alright, Alan Hyatt: It does Jon Valadez: okay. Alan Hyatt: also lie flat, but that's the that yellow stand there represents the the charging stand. Jon Valadez: Okay, Alan Hyatt: Um Jon Valadez: brilliant mm. Alan Hyatt: the black on the back is the slogan. Jon Valadez: Okay, nice and obvious Alan Hyatt: Uh Jon Valadez: there, Alan Hyatt: yeah, that Well, we Jon Valadez: if it's Alan Hyatt: did think Jon Valadez: standing Alan Hyatt: of Jon Valadez: up, Alan Hyatt: that. Jon Valadez: I guess, yeah. Alan Hyatt: 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 Jon Valadez: Oh Alan Hyatt: the Jon Valadez: right, Alan Hyatt: middle. Jon Valadez: okay, brilliant. Like Alan Hyatt: So Jon Valadez: that Alan Hyatt: um Jon Valadez: from its centre. Alan Hyatt: 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. Jon Valadez: Where you're, yeah, uh were you're holding it kind of Alan Hyatt: Yeah. Well, if you hold it, you can you all can hold it, is it does actually feel quite ergonomic, Jon Valadez: Mm-hmm. Alan Hyatt: if you've got small hands. Jon Valadez: Yeah. Nicholas Brown: Mm. Alan Hyatt: Um, Jon Valadez: Okay. Alan Hyatt: obviously I don't think that's real sized. It would Jon Valadez: Yeah, Alan Hyatt: have Jon Valadez: okay. Alan Hyatt: to be a bit Jon Valadez: Yeah, Alan Hyatt: bigger. Jon Valadez: scale model, yeah. Alan Hyatt: 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. Jon Valadez: Mm-hmm. Alan Hyatt: 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 Jon Valadez: Alright, excellent. Alan Hyatt: big red button in the middle is the on and off one. It's Jon Valadez: Okay. Alan Hyatt: not in the traditional place, Jon Valadez: No. Alan Hyatt: but um Jon Valadez: It's out of Alan Hyatt: it's Jon Valadez: the way Alan Hyatt: quite an Jon Valadez: as Alan Hyatt: obvious Jon Valadez: well, I Alan Hyatt: place. Jon Valadez: suppose, so. Excellent. Alan Hyatt: So there we go and and um we have the banana-based Nicholas Brown: Oh yeah, yeah. Alan Hyatt: one too. Jon Valadez: Yep. Nicholas Brown: This one is uh, I suppose for the younger audiences. Jon Valadez: Okay, Nicholas Brown: A a more friendly Jon Valadez: so Nicholas Brown: type Jon Valadez: so Nicholas Brown: of Jon Valadez: Barney the banana. Nicholas Brown: Right, right. It's to uh induce more television watching I suppose Jon Valadez: Ah Nicholas Brown: or Jon Valadez: excellent, just what we need. Alan Hyatt: Yeah. Nicholas Brown: Yeah. Paul Berwick: Mm-hmm. Jon Valadez: Lo Sort of Loch Ness banana. Alan Hyatt: Mm-hmm. Nicholas Brown: Right, right. Jon Valadez: Cool yeah. Well, nice to have uh options at least. Alan Hyatt: Yeah. Nicholas Brown: Yep. Jon Valadez: 'Kay Alan Hyatt: So Jon Valadez: and Alan Hyatt: are there any um improvements or issues Nicholas Brown: It won't Alan Hyatt: or Nicholas Brown: stand. Jon Valadez: Oh there are issues, oh there are issues. Nicholas Brown: Just let it lie down, it wont stand. Jon Valadez: Um main problem that we have unfortunately being finance. Alan Hyatt: Oh. Jon Valadez: 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 Paul Berwick: Mm. Jon Valadez: us fourteen point six Euros. Alan Hyatt: Oh. Jon Valadez: So Nicholas Brown: What's Jon Valadez: we have Nicholas Brown: on the Jon Valadez: to Nicholas Brown: uh Jon Valadez: rea Nicholas Brown: on the left? Jon Valadez: Sorry, I've accidentally highlighted somehow Um. There we go. Nicholas Brown: Okay. Jon Valadez: Oh god, Alan Hyatt: Ooh. Jon Valadez: 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. Alan Hyatt: Mm-hmm. More like Jon Valadez: Um. Alan Hyatt: a traditional remote control. Jon Valadez: Yeah, I mean it's already got a kind of cool shape, Alan Hyatt: Mm-hmm. Jon Valadez: so but it wouldn't have to be curved sort Alan Hyatt: Mm-hmm. Jon Valadez: 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. Nicholas Brown: W why is the uh double curved two of them? Jon Valadez: Oh, good point. Paul Berwick: And Jon Valadez: Um. Paul Berwick: double curve on both sides? Curve. Yeah, this Jon Valadez: That's Paul Berwick: is double-curve, Jon Valadez: sort Paul Berwick: no? Jon Valadez: of curve Paul Berwick: This Nicholas Brown: Is Paul Berwick: is Nicholas Brown: i Paul Berwick: double-curve. Jon Valadez: in and Paul Berwick: It Jon Valadez: out. Paul Berwick: This one is single curve. Nicholas Brown: Mm. Paul Berwick: 'Cause this is single curve, this is curved on both sides. So double-curve. Jon Valadez: No, I think it means double curved as in um Alan Hyatt: Like an S_ shape. Jon Valadez: like uh a single curve on that bottom half, and the double curved would be if it was that similar curve Alan Hyatt: Okay. Jon Valadez: upward. Okay, I might be wrong though. Paul Berwick: Like this, one curve on this side, one curve on that side. Jon Valadez: I don't think that counts as a curve, I think Paul Berwick: Hmm. Jon Valadez: that's just a shape. Alan Hyatt: Okay. Jon Valadez: A curvature is like the this Paul Berwick: Maybe. Jon Valadez: case. Alan Hyatt: Okay. Nicholas Brown: 'Cause that's the uh the biggest expense there, right. Jon Valadez: Yeah, Nicholas Brown: got Jon Valadez: and why Nicholas Brown: two Jon Valadez: why Nicholas Brown: of them Jon Valadez: I've got it two, I don't know, I can't seem to select any more however. Nicholas Brown: Okay. Well we can work around that um Alan Hyatt: Mm-hmm. Jon Valadez: Right. No. Nicholas Brown: Cut things out. But you think it should be one. Jon Valadez: It's meant to be one, yeah, I don't know why I put two in there, Nicholas Brown: Okay. Jon Valadez: 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. Nicholas Brown: Yeah. Jon Valadez: Um Paul Berwick: Mm. Jon Valadez: okay, so Paul Berwick: Should Jon Valadez: that would take away three, which would give us Oh that's fine. Nicholas Brown: Yeah, so Jon Valadez: Eleven Nicholas Brown: we're Alan Hyatt: Cool. Jon Valadez: uh eleven Euros sixty. Alan Hyatt: Cool. Jon Valadez: Um Alan Hyatt: So we could even add something. Jon Valadez: We cou Oh not quite, Nicholas Brown: We should fire Jon Valadez: have the scroll-wheel, Nicholas Brown: the accountants. Jon Valadez: unfortunately. What? Nicholas Brown: Fire the accountants. Ah yeah, we could add things. Maybe if you click back in that bottom right cell, where you're starting from, Jon Valadez: Yeah. Nicholas Brown: and then use the arrow keys. Does that work? Jon Valadez: Yeah, I know, that Nicholas Brown: No Jon Valadez: just extends Nicholas Brown: mm. Jon Valadez: it as well. Paul Berwick: Uh you Jon Valadez: I Paul Berwick: can Jon Valadez: don't Paul Berwick: do Jon Valadez: know. Paul Berwick: one thing. You just select one box outsi yeah, this box. Then move it with the help of this Okay. Jon Valadez: It One of the buttons Paul Berwick: Just Jon Valadez: is sticking, Paul Berwick: uh just Jon Valadez: I don't know. Paul Berwick: uh Okay, just a minute. Okay. No input, like this. Shift. No Jon Valadez: No, it's Paul Berwick: it's Jon Valadez: 'cause Paul Berwick: not. Jon Valadez: the uh the shift button's stuck, Paul Berwick: Yeah, Jon Valadez: or something. Paul Berwick: it's not working. Nicholas Brown: Is Paul Berwick: Should Nicholas Brown: it the Paul Berwick: we Nicholas Brown: other Paul Berwick: ask Nicholas Brown: shift Paul Berwick: Meli Nicholas Brown: button maybe? Paul Berwick: Should we ask our technical expert Melissa? Jon Valadez: No that's fine. Um we've worked out what it would be anyway. Nicholas Brown: Did you try both shift buttons? It could be Jon Valadez: Yeah. Nicholas Brown: the other side. Jon Valadez: Cancel. Piss off. Nicholas Brown: That's too bad. Jon Valadez: Oh well, never mind. Um. Right, so that's finances and I dunno what we what could we reckon we could add? Um Alan Hyatt: Well maybe we could add something, but maybe if What Jon Valadez: Well I suppose Alan Hyatt: do you Jon Valadez: that's Alan Hyatt: th Jon Valadez: our that's Alan Hyatt: We're Jon Valadez: that's Alan Hyatt: trying Jon Valadez: our Alan Hyatt: to Jon Valadez: design Alan Hyatt: save Jon Valadez: that Alan Hyatt: money, Jon Valadez: we've got. Alan Hyatt: so. Yeah, Jon Valadez: So Alan Hyatt: if we're happy with the design there's no point in spending money, if we don't have to. Jon Valadez: Yeah. Alan Hyatt: 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 Jon Valadez: Yeah Alan Hyatt: not in an Jon Valadez: yeah. Alan Hyatt: ideal place right now. Jon Valadez: 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? Nicholas Brown: Oh. Alan Hyatt: Mm. Nicholas Brown: Yeah I think we have a a winning product. Jon Valadez: Okay. Evaluation. Oh we've been writing this up for m Alan Hyatt: I think Jon Valadez: months. Alan Hyatt: it went quite smoothly. Jon Valadez: Uh room for creativity, were we happy with that? Alan Hyatt: W I think we were very creative. Jon Valadez: No, I mea I think it means sort of individually. Alan Hyatt: Oh right, okay. Jon Valadez: Yes, no, maybe? Alan Hyatt: Mm-hmm. Jon Valadez: Okay. Groovy. So uh we're just gonna. Uh yeah, okay. Teamwork? Leadership, sorry. Nicholas Brown: Great Alan Hyatt: Excellent Nicholas Brown: leadership. Alan Hyatt: leadership. Jon Valadez: Thank you very much. You're all get you're all getting a raise. Uh teamwork. I thought went well. Nicholas Brown: Yeah, Paul Berwick: Yeah. Nicholas Brown: yeah. Alan Hyatt: Yeah, Jon Valadez: Yeah. Alan Hyatt: everyone got enough input, I think. Jon Valadez: Uh and well means, yeah. Paul Berwick: Yeah, Jon Valadez: The Paul Berwick: we Jon Valadez: technical stuff was brilliant. Let's Alan Hyatt: Yeah. Jon Valadez: buy more. Paul Berwick: Yeah. Nicholas Brown: These Jon Valadez: I don't Nicholas Brown: pens Jon Valadez: know what, new Nicholas Brown: are Jon Valadez: ideas Nicholas Brown: are neat Jon Valadez: found, Nicholas Brown: though. Jon Valadez: means, to be honest. Paul Berwick: 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. Alan Hyatt: Mm-hmm. Jon Valadez: Mm-hmm. Paul Berwick: These are new ideas we And new shapes, everything. Alan Hyatt: Yeah. Jon Valadez: Mm 'kay. Paul Berwick: At le Jon Valadez: Groovy. Paul Berwick: Yeah. Jon Valadez: So just general thumbs up for all of us then. Paul Berwick: Hmm. Jon Valadez: That kind of unfortunately is too quick. Alan Hyatt: Okay. Paul Berwick: Hmm. Nicholas Brown: Okay. Alan Hyatt: Well um. Jon Valadez: Uh. I suppose yeah. Nicholas Brown: Uh Jon Valadez: Um. Nicholas Brown: so let's talk about our bonuses and the raises we're getting Jon Valadez: That's Nicholas Brown: for this, Jon Valadez: it, Nicholas Brown: right. Jon Valadez: um I think another couple of days holiday pay might be Alan Hyatt: Mm. Jon Valadez: well in order for all of you. Nicholas Brown: Right, right. Jon Valadez: Uh Let's see if I can get this bloody thing to work. Nicholas Brown: Uh Jon Valadez: Whoops. Nicholas Brown: maybe we should start cleaning up the clay. Alan Hyatt: Yeah, maybe. Paul Berwick: So Jon Valadez: Does it go back in, does it? Reusable. Nicholas Brown: Something we Jon Valadez: I Nicholas Brown: should Jon Valadez: don't know Nicholas Brown: get. Jon Valadez: what this is Paul Berwick: So Jon Valadez: but it's really really annoying. Paul Berwick: Uh Brian, have Jon Valadez: Uh-huh. Paul Berwick: you have you finished? Jon Valadez: Um Paul Berwick: Uh Jon Valadez: I have, yes. Paul Berwick: mine needs also this. Jon Valadez: Huh? Paul Berwick: At last mine is also the presentation. Jon Valadez: Oh right, okay, you've got more, Alan Hyatt: Oh, Jon Valadez: okay. Alan Hyatt: you got Paul Berwick: Yeah, Alan Hyatt: a presentation, Jon Valadez: Sorry Alan Hyatt: sorry. Jon Valadez: uh. Paul Berwick: yeah. Nicholas Brown: Oh ok Jon Valadez: It didn't bother to tell Paul Berwick: S Jon Valadez: Paul Berwick that on this thing. Is it? Okay. Paul Berwick: Uh Jon Valadez: Doesn't tell Paul Berwick. Paul Berwick: is the project evaluated, that is mine. Jon Valadez: Oh you're doing that. Paul Berwick: Yeah. Jon Valadez: We evaluated ourselves, we thought we were great. Alan Hyatt: Yeah. Nicholas Brown: Uh. Alan Hyatt: Mm, love to eat that Nicholas Brown: Anybody Alan Hyatt: now. Kind of a green Jon Valadez: Mm. Alan Hyatt: banana now. Nicholas Brown: Clay covered banana. Alan Hyatt: 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. Jon Valadez: O okay, Alan Hyatt: I've got. Jon Valadez: hold on. Nicholas Brown: blue. Jon Valadez: I wonder w which cell do I want. Nicholas Brown: It's fun to touch. Alan Hyatt: Yeah. Paul Berwick: So. Jon Valadez: Okay, Paul Berwick: Yeah. Jon Valadez: I didn't realise you had that bit. Alan Hyatt: Oh could you pass the tomato Paul Berwick: So. Alan Hyatt: please. Sorry. Thank you. Paul Berwick: So now is the final evaluation, final evaluation of the uh uh of our product. Alan Hyatt: Mm-hmm. Paul Berwick: 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. Jon Valadez: Okay. Paul Berwick: 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. Alan Hyatt: Mm-hmm. Paul Berwick: 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 Alan Hyatt: Sorry. Sorry, carry on. Paul Berwick: 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. Jon Valadez: Okay. Paul Berwick: I'm having this scale this scale, Alan Hyatt: Mm-hmm. Paul Berwick: so we have to do it on a board. Alan Hyatt: Okay. Jon Valadez: Alright, okay. The board working again, is Paul Berwick: the Jon Valadez: it? Paul Berwick: user requirem I think. Nicholas Brown: Do we have the uh the marker for the board? Alan Hyatt: Um. Jon Valadez: Uh. Nicholas Brown: There it is. Paul Berwick: Thank you. So. Paul Berwick: So these are the three crite criterias for our evaluation of our product. Alan Hyatt: Mm-hmm. Paul Berwick: 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? Alan Hyatt: Um I think Yeah, it did. It Paul Berwick: S Alan Hyatt: had all the basic buttons that they needed as well as the uh new technology that people said they wanted. Jon Valadez: Yeah. Alan Hyatt: Um Jon Valadez: When Alan Hyatt: so. Jon Valadez: the user requirement is essentially just to operate Alan Hyatt: Does it Jon Valadez: the Alan Hyatt: work? Jon Valadez: T_V_, so Alan Hyatt: Yeah. Jon Valadez: yeah, of Alan Hyatt: So. Jon Valadez: course we haven't Paul Berwick: So Jon Valadez: actually got a working Paul Berwick: what do Jon Valadez: model Paul Berwick: you think Jon Valadez: yet. Paul Berwick: you will personally give. Alan Hyatt: I would say seven. Paul Berwick: Seven. Uh. Alan Hyatt: Seven is good, yeah, isn't it? I can't True or false? No sorry tr one Jon Valadez: One, yeah. Alan Hyatt: is true. Paul Berwick: Uh one is means highest ranking, Alan Hyatt: Yeah. Paul Berwick: okay. But I think highest ranking is seven, Jon Valadez: No Paul Berwick: or one? Jon Valadez: it's Nicholas Brown: No Jon Valadez: it's Nicholas Brown: that's Jon Valadez: like Nicholas Brown: false. Jon Valadez: true is one end, Paul Berwick: Okay, Jon Valadez: and false Paul Berwick: right Jon Valadez: is the oth Paul Berwick: right. Alan Hyatt: Okay, so Paul Berwick: So Alan Hyatt: one. Paul Berwick: it's one for from your point of view. Alan Hyatt: Yep. Paul Berwick: And what do you say our Industrial Nicholas Brown: Uh. Paul Berwick: Expert? Nicholas Brown: It's hard to know. I I give it a two. Paul Berwick: 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. Nicholas Brown: Okay. Paul Berwick: But you can give your views based on technology, whether the technology meets the requirements of the customers or not? Nicholas Brown: 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. Paul Berwick: Two. Nicholas Brown: Two. Paul Berwick: And what about uh you, Brian? Jon Valadez: Oh, I'll go for a one. Paul Berwick: You will go for one. Jon Valadez: Basic requirements Paul Berwick: Okay. Jon Valadez: but of the pro of the project. Paul Berwick: Uh for Paul Berwick 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, Alan Hyatt: Mm Paul Berwick: and Alan Hyatt: yellow. Paul Berwick: Uh yeah, lower Jon Valadez: Yeah Paul Berwick: end. And the third Jon Valadez: th Paul Berwick: one is what you ge uh that is not a f fruit look. Alan Hyatt: Uh-huh. Paul Berwick: But if Jon Valadez: Come Paul Berwick: a Jon Valadez: on Paul Berwick: person Jon Valadez: that was the tha Paul Berwick: doesn't like banana, or orange, you are limiting him. Alan Hyatt: Uh-huh. Paul Berwick: No, don't Jon Valadez: 'Kay. Paul Berwick: buy our product, because we are l we like this only. Alan Hyatt: Okay. Paul Berwick: So we are showing our preference for particular fruits, two or three kinds rather, and Jon Valadez: Being fruitist. Paul Berwick: Yeah. Alan Hyatt: Is that Paul Berwick: So. Alan Hyatt: no is that not trends? Paul Berwick: 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, Alan Hyatt: Mm-hmm. Paul Berwick: Some children like to buy banana shape, some apple shape, some even pineapple shape, some orange shape. Alan Hyatt: Mm-hmm. Paul Berwick: 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 Alan Hyatt: Uh-huh. Paul Berwick: limiting them, we are limiting our sales, limiting our profit also. Alan Hyatt: But in electronics, I think, it's not q always quite so um you don't always have so many choices as with chocolates. Alan Hyatt: We were coming up with one product. Paul Berwick: Uh maybe. Okay but Alan Hyatt: No, Paul Berwick: I Alan Hyatt: I mean Paul Berwick: will Alan Hyatt: uh obviously Paul Berwick: I will Alan Hyatt: your Paul Berwick: personally Alan Hyatt: opinion, I'm just trying to Paul Berwick: won't give it beyond three. Alan Hyatt: Okay. Paul Berwick: So we can Jon Valadez: He's a tough cookie. Paul Berwick: Yeah, on an average we can think three, four sevenths, maybe. Three or four? Uh, no sorry, it should Jon Valadez: Six. Paul Berwick: be Jon Valadez: Five or six. Alan Hyatt: What are we doing? Paul Berwick: No Nicholas Brown: What are Paul Berwick: sorry, Nicholas Brown: we doing? Paul Berwick: sorry, sorry, Alan Hyatt: Adding Paul Berwick: sorry, Alan Hyatt: them Paul Berwick: we Alan Hyatt: up? Paul Berwick: are doing a very Nicholas Brown: We're gonna Paul Berwick: wrong Nicholas Brown: average Paul Berwick: thing. Nicholas Brown: them? Paul Berwick: Yeah, yeah, we are taking everything, Nicholas Brown: Okay. Paul Berwick: and that's Alan Hyatt: Oh. Paul Berwick: I have taken Nicholas Brown: So Paul Berwick: it very Nicholas Brown: seven Paul Berwick: wrongly. Nicholas Brown: fourths. Paul Berwick: Yeah uh Nicholas Brown: About one Paul Berwick: three Nicholas Brown: point Paul Berwick: four four Nicholas Brown: f Paul Berwick: two six Nicholas Brown: one point Paul Berwick: seven Nicholas Brown: eight. Paul Berwick: seven sev Yeah one pe exactly. So we can say one or two. Nicholas Brown: Okay. Alan Hyatt: Okay. Paul Berwick: because it is one point eight Jon Valadez: Oh I see. Paul Berwick: uh two, so we will do Nicholas Brown: Yeah Paul Berwick: two. Nicholas Brown: round it up to two. Paul Berwick: Yeah. Alan Hyatt: Okay, yeah. Paul Berwick: So Nicholas Brown: So trends. Paul Berwick: where were the trends. Nicholas Brown: Can you explain what you want us to write there? Paul Berwick: Sorry? Nicholas Brown: How it how conforms to the current trends? Paul Berwick: Yeah, again the the fashion trends, this also like whether it it will be fashionable to have these products in the Alan Hyatt: Mm-hmm. Paul Berwick: uh as a fruit shape or something. Alan Hyatt: Okay. Paul Berwick: Uh. Alan Hyatt: 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. Paul Berwick: Okay. Alan Hyatt: Go Paul Berwick: Yeah. Alan Hyatt: for three. That's fine. Paul Berwick: Uh Nicholas Brown: '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 Alan Hyatt: Mm. Nicholas Brown: for technology. Jon Valadez: Yeah, I am sort of pret uh Just the fruit does Paul Berwick in, I mean uh it might it might be trendy to some, but I'm just not swallowing the fruit, so Alan Hyatt: Yeah. Jon Valadez: 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. Paul Berwick: 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 Alan Hyatt: Mm-hmm. Paul Berwick: 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. Alan Hyatt: Mm-hmm. Paul Berwick: 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 Nicholas Brown: Yeah. Paul Berwick: about company strategy? Nicholas Brown: Well Alan Hyatt: Um. Nicholas Brown: it was yellow. Alan Hyatt: 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. Paul Berwick: Okay. Nicholas Brown: Well, I think it's the the remote control conforms to the the company strategy. Alan Hyatt: Okay. Jon Valadez: Yeah, Nicholas Brown: Is that the question? Jon Valadez: yeah. Alan Hyatt: Is it? Okay. Nicholas Brown: Um. Alan Hyatt: Okay, so one or two. Nicholas Brown: Yeah. Alan Hyatt: One. Okay, just leave it, it's fine. Nicholas Brown: I'll go with two. Paul Berwick: So what about you, Brian? Jon Valadez: 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 Alan Hyatt: Mm. Paul Berwick: Yeah, and Paul Berwick also, like, this product Paul Berwick uh Paul Berwick uh Paul Berwick 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 Nicholas Brown: So one Paul Berwick: six Nicholas Brown: and a half. Alan Hyatt: Yeah, Paul Berwick: half. Alan Hyatt: one. Paul Berwick: So we can say two or one Nicholas Brown: A two. Paul Berwick: Okay. So th seven seven. Uh overall we are getting two something, but we can round it as two. Nicholas Brown: Yep. Alan Hyatt: Okay. Jon Valadez: Cool, Paul Berwick: Yeah. Jon Valadez: groovy. Paul Berwick: So I Nicholas Brown: S Paul Berwick: think overall uh evaluation of our product is quite good. Jon Valadez: Cool. Paul Berwick: So we can launch it. Yeah. Jon Valadez: Brilliant. Alan Hyatt: Woo-hoo. Jon Valadez: In which case we are done. 'Cause we've evaluated and we are within budget. Alan Hyatt: Cool. Nicholas Brown: Okay. Paul Berwick: So Jon Valadez: Champagne lunch Paul Berwick: yeah. Alan Hyatt: Yeah. Jon Valadez: anyone? Nicholas Brown: Uh. Paul Berwick: Great.

Alan Hyatt and Nicholas Brown 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. Jon Valadez 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. Paul Berwick 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

Earl Barry: ... Alexander Plumer: 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. Earl Barry: Mm, yeah. Alexander Plumer: Maybe Earl Barry: I Alexander Plumer: not. Earl Barry: receive Alexander Plumer: Anyway, Earl Barry: it. Alexander Plumer: 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. Jerry Miller: Mm-hmm. Alexander Plumer: 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 Jerry Miller: so sh. Alexander Plumer: any questions? Is i Earl Barry: Not at this point. Alexander Plumer: 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. Alexander Plumer: 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. Jerry Miller: 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? Alexander Plumer: 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 Jerry Miller: Right. Alexander Plumer: what what specific things it it has to do but the conceptual design is um perhaps bigger than that and includes the Jerry Miller: How Alexander Plumer: how people Jerry Miller: how Alexander Plumer: are going Jerry Miller: it Alexander Plumer: to Jerry Miller: will Alexander Plumer: use Jerry Miller: be done. Alexander Plumer: it and and that kind of thing. Jerry Miller: 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? Alexander Plumer: Um I think we'll we'll start that initially with the functional design Jerry Miller: Okay. Alexander Plumer: 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. Jerry Miller: Hmm. Alexander Plumer: 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 Jones: Why are you looking at Michael Jones? Alexander Plumer: Would you like to go first? Michael Jones: Do I have a choice? Okay. Ooh ooh, Alexander Plumer: Oh, Michael Jones: things falling everywhere. Alexander Plumer: yeah, Michael Jones: Right, okay. Alexander Plumer: p put them in pockets. Michael Jones: Cool. Alexander Plumer: You Michael Jones: Okay. Alexander Plumer: don't have to hurry, we've got plenty of time. Michael Jones: So, my name's Cat and I'm really not very good at this whole drawing malarkey so um Michael Jones: Okay. Alexander Plumer: It's got no eyes. Michael Jones: Oh, good point. Ah, the eyes always ruin it. Right. Okay, what do it's eyes like? Michael Jones: Okay, cool. Um this is a rabbit. Alexander Plumer: I thought it might be a cat. Earl Barry: Yeah well origi uh at first I thought it was going to be cat. Michael Jones: Yeah, I don't think it's furry enough, Earl Barry: Yeah Michael Jones: make Earl Barry: now Michael Jones: it a Earl Barry: I Michael Jones: fluffy Earl Barry: now Michael Jones: rabbit. Earl Barry: I understand now, yeah. Alexander Plumer: Yeah I can see by the ears. Earl Barry: Yeah. Michael Jones: 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 Alexander Plumer: Mm. Michael Jones: and it's fluffy. And one day you'll be able to getical genetically modify them and they will come in pink. Earl Barry: Ah. Michael Jones: Okay? Alexander Plumer: Excellent, Jerry Miller: Mm. Alexander Plumer: and what's your what's your role within the team? Michael Jones: I am the um I need my notebook, mm ooh top banana. Thank you. Okay, cool, I am Michael Jones 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 Jerry Miller: Mm-hmm. Michael Jones: trend watching in the conceptual design and product evad-valuation in the detailed design Alexander Plumer: Mm-hmm. Jerry Miller: Okay. Michael Jones: um so yeah. Alexander Plumer: And more Jerry Miller: 'Kay. Alexander Plumer: about yourself, you're from? Michael Jones: Um I'm from Leicester, Alexander Plumer: Mm-hmm. Michael Jones: um second year. Um what else do you want to know? I like sports um yeah, aerobics, kickboxing, spinning um and uh Alexander Plumer: But not with rabbits. Michael Jones: not with rabbits, no Jerry Miller: Mm. Michael Jones: no. And vets, I like vets as well. And yeah um and I like cocktails, especially pink ones. Okay? Jerry Miller: Cool. Alexander Plumer: Excellent, Michael Jones: Cool. Alexander Plumer: to match the rabbit. Earl Barry: Okay. Um so my name is Maarika. Where's the pen? Okay. Alexander Plumer: There's a an if you have not enough room there's an eraser there and you can rub Earl Barry: Yeah, Alexander Plumer: it off. Earl Barry: 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 Jerry Miller: Mm. Earl Barry: mm hmm. Um well, there are different kinds of dogs, but okay um. Jerry Miller: That's not bad at Alexander Plumer: Ah Jerry Miller: all. Alexander Plumer: it looks like a dog. Jerry Miller: Yep. Earl Barry: Okay. Michael Jones: Is a bit more impressive than my rabbit. I think it needs four legs if it's gonna walk though. Earl Barry: Yeah, maybe it has some colourful patches, yeah. Um Alexander Plumer: the other Earl Barry: yeah Alexander Plumer: legs Earl Barry: and Alexander Plumer: are on the other Earl Barry: I Alexander Plumer: side. Earl Barry: 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. Alexander Plumer: And where where are you from? Earl Barry: I'm from Estonia uh, Alexander Plumer: Estonia. Earl Barry: 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, Jerry Miller: Thank you. Earl Barry: that's it. Jerry Miller: 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. Alexander Plumer: Good luck. Jerry Miller: Uh this is going to be Michael Jones: They're not just like a big round body and then some really skinny legs and then just Jerry Miller: Yeah, Michael Jones: some Jerry Miller: that'll Michael Jones: horns. Jerry Miller: do. Okay, so let let Michael Jones draw the body first. Alexander Plumer: Mm. Jerry Miller: Big, round body, really skinny legs and they've got a long tail and a long face. Alexander Plumer: It's eating. Michael Jones: It looks like Eeyore. Jerry Miller: And there is some grass there. Alexander Plumer: Yeah. Jerry Miller: So this is what I like about cows that Michael Jones: Horns, Jerry Miller: they just keeps Michael Jones: draw some Jerry Miller: sitting Michael Jones: horns. Jerry Miller: 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 Jerry Miller, 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. Alexander Plumer: Excellent. Jerry Miller: Thank you. Earl Barry: Thanks. Alexander Plumer: Right, now now it's my turn obviously. Alexander Plumer: Okay, Jerry Miller: That doesn't Alexander Plumer: here's Jerry Miller: look Alexander Plumer: a space. Jerry Miller: like a cow, does Earl Barry: It Jerry Miller: it? Earl Barry: looks very very cute. Alexander Plumer: Yeah, I like the cow. I'm Earl Barry: Yeah. Alexander Plumer: Jen. Earl Barry: Mm-hmm. Alexander Plumer: 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 Jones: Is that a lizard? Jerry Miller: No way. Alexander Plumer: Hmm. Earl Barry: Wow. Alexander Plumer: It's a gecko. Earl Barry: Ah, Jerry Miller: Ah Earl Barry: a gecko, Jerry Miller: okay. Earl Barry: okay. Alexander Plumer: Yeah. Michael Jones: Is there a difference? Earl Barry: Is a ar Alexander Plumer: They're Earl Barry: are they also like lizards or are they Alexander Plumer: Yeah, Earl Barry: yeah, Alexander Plumer: they're l Earl Barry: they Alexander Plumer: it's Earl Barry: are Alexander Plumer: a kind of lizard. Earl Barry: mm-hmm. Alexander Plumer: And I I like geckos because they remind Michael Jones of warm places Earl Barry: Ah. Alexander Plumer: and, Jerry Miller: Uh-huh. Alexander Plumer: 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 Earl Barry: Mm-hmm. Alexander Plumer: in Earl Barry: I hope Alexander Plumer: the Earl Barry: you Alexander Plumer: evening. Earl Barry: don't like snakes, do you? Alexander Plumer: I don't like snakes. I come Earl Barry: Okay. Alexander Plumer: from Australia and we have nasty snakes. Earl Barry: Mm-hmm. Alexander Plumer: That's where I'm from, Australia. I'm from Melbourne and I'm your Project Manager for today and Jerry Miller: Mm. Alexander Plumer: 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. Earl Barry: Wonderful. Alexander Plumer: Okay. Jerry Miller: Thank you. Alexander Plumer: So, let's see what's next in the PowerPoint presentation. So, Michael Jones: If Alexander Plumer: I've Michael Jones: you Alexander Plumer: just Michael Jones: right Alexander Plumer: thought Michael Jones: click Alexander Plumer: yeah Michael Jones: on it Alexander Plumer: I've Michael Jones: you Alexander Plumer: just Michael Jones: can Alexander Plumer: thought about this that we could even put it much more professionally Jerry Miller: Mm-hmm. Alexander Plumer: 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. Alexander Plumer: So that's something to keep in mind while you're designing. Okay. Hmm. This is let Michael Jones 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 Earl Barry: Yep. Alexander Plumer: remote control? Earl Barry: 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. Alexander Plumer: Mm-hmm. I think that's probably something that w it's best if we take away with us, but if Jerry Miller: Mm-hmm. Alexander Plumer: 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 Jerry Miller: I think uh Alexander Plumer: are out Jerry Miller: i Alexander Plumer: of Jerry Miller: in Alexander Plumer: the ordinary. Jerry Miller: 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 Alexander Plumer: Something Jerry Miller: to this. Alexander Plumer: something new. Michael Jones: Yeah, I was looking Jerry Miller: Mm. Michael Jones: 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. Alexander Plumer: Mm-hmm. Michael Jones: 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, Alexander Plumer: Mm-hmm. Michael Jones: 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. Alexander Plumer: Uh-huh. Jerry Miller: Alright. Michael Jones: 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? Alexander Plumer: Mm-hmm. Jerry Miller: Mm. Michael Jones: Okay. Alexander Plumer: So perhaps some sort of menu-based thing, or Michael Jones: Something that's a little less crowded than this, like Alexander Plumer: Mm-hmm. Michael Jones: I mean you know, theoretically you can do all kinds of things with your T_V_, right? Alexander Plumer: Yeah. Michael Jones: But what do most people do? They turn it on, they watch Jerry Miller: Yeah. Michael Jones: certain specified channels, Alexander Plumer: Yeah. Michael Jones: you know, and then they turn it off again. Jerry Miller: There is a Michael Jones: Sometimes Jerry Miller: lot of functionality Michael Jones: they play a movie. Jerry Miller: in there that is not used ninety percent of the time, Michael Jones: Yeah, Alexander Plumer: Yeah. Jerry Miller: but Michael Jones: so Jerry Miller: will be used ten percent of the time, Michael Jones: there's no Alexander Plumer: So, Jerry Miller: yeah. Michael Jones: need to have buttons on it to Alexander Plumer: no. Michael Jones: do that, maybe to Jerry Miller: Yep. Michael Jones: do Alexander Plumer: It could be one button for a menu or something, if Michael Jones: Yeah. Alexander Plumer: you Earl Barry: Mm-hmm. Alexander Plumer: really Jerry Miller: And Alexander Plumer: need Jerry Miller: then Alexander Plumer: to go Jerry Miller: use Alexander Plumer: and do Michael Jones: So, Jerry Miller: the Alexander Plumer: that. Michael Jones: if you're the kind of sad case that knows how your remote control works, then you know Jerry Miller: Mm. Michael Jones: that's fine and you can do it on the screen rather than everybody else having to have those buttons, which just confuse them. Alexander Plumer: Mm-hmm. Michael Jones: Hmm. Alexander Plumer: Excellent. Michael Jones: '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 Alexander Plumer: Oh I Michael Jones: you Alexander Plumer: haven't Michael Jones: can put Alexander Plumer: had Michael Jones: it Alexander Plumer: a look Michael Jones: up on Alexander Plumer: yet, Michael Jones: the thing Alexander Plumer: yep. Michael Jones: um but it is just like a long like thing used for mu moving people, but it looks really pretty too. Alexander Plumer: Mm-hmm. Great. Any other immediate thoughts Jerry Miller: Mm. Alexander Plumer: before we move along? Jerry Miller: 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 Alexander Plumer: Mm-hmm. Jerry Miller: 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. Alexander Plumer: Yeah. Jerry Miller: Um Earl Barry: Yeah but Jerry Miller: Hmm. Earl Barry: 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 Jerry Miller: Yeah. Earl Barry: the new users will just have a Jerry Miller: A Earl Barry: lot Jerry Miller: big learning Earl Barry: of problems Jerry Miller: curve, Earl Barry: with l Jerry Miller: yeah. Alexander Plumer: Mm-hmm. Earl Barry: learning, yeah, yeah. Jerry Miller: Yeah. So, i it should kind of fit in as well, and Alexander Plumer: It's like Jerry Miller: the Alexander Plumer: those fancy websites Jerry Miller: stereotype of a Earl Barry: Hm-hmm. Jerry Miller: yeah. Alexander Plumer: 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, Jerry Miller: Alright. Alexander Plumer: you're looking at the technical functions design, and for you it's the user requirements specification, Michael Jones: Mm-hmm. Alexander Plumer: like you said at the start. Okay? Earl Barry: Okay. Alexander Plumer: Thanks for that. Earl Barry: Thank you. Alexander Plumer: Uh I'll see you in half an hour. Earl Barry: See you. Alexander Plumer: Carry the laptops back again. Jerry Miller: Hmm. Alexander Plumer: Do we need to unplug things? Probably.

Alexander Plumer 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 Alexander Plumer going over the task each member is to complete before the next meeting.

amisum

train

Edmund Self: 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? James Howard: No. Antonio Kieser: Mm. Edmund Self: 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. James Howard: Mm. Um um wi on on a what? Oh project project documents, yeah, Edmund Self: Project James Howard: yeah, Edmund Self: documents, James Howard: yeah, okay. Edmund Self: yeah. So I'll put it in James Howard: Oh okay, Edmund Self: there. Is James Howard: yeah. Edmund Self: it best if I send you an email maybe, to let you know it's there? James Howard: Yes, Edmund Self: Yep. James Howard: I think so. Edmund Self: 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 James Howard: Yeah, Edmund Self: just James Howard: the Edmund Self: sent James Howard: last minute, yeah, Edmund Self: at the last minute, James Howard: yeah. Edmund Self: I'm sorry about that, but we can see how that affects what James Howard: Yeah. Edmund Self: 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 Antonio Kieser: You said Edmund Self: say Antonio Kieser: uh targ Edmund Self: yeah? Antonio Kieser: target groups, what mean? Edmund Self: As James Howard: Um Edmund Self: uh who it is that we're going to be trying to sell this thing to, Antonio Kieser: Uh okay, 'kay. Edmund Self: yeah. Antonio Kieser: So are Edmund Self: So we need to yeah, we need to have a fairly defined group Antonio Kieser: Okay. Edmund Self: 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 Antonio Kieser: Alright. Edmund Self: a preference for going first? Antonio Kieser: I can go first, Edmund Self: You wanna go James Howard: Okay. Edmund Self: first? Antonio Kieser: yeah. Edmund Self: Okay, James Howard: Hmm. Edmund Self: so we need to unplug my laptop and plug in yours. I assume we just pull it out? James Howard: Mm. Antonio Kieser: Right. Um so f from the Edmund Self: Just before you start, to make it easier, would you three mind emailing Daniel Hance your presentations? Once we you don't have James Howard: Okay, Edmund Self: to do it now James Howard: yeah, Edmund Self: but when James Howard: afterwards, yeah, Edmund Self: once James Howard: okay. Edmund Self: you go back, Antonio Kieser: Right sure. Edmund Self: just so that I don't have to scribble everything down. Antonio Kieser: 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. Edmund Self: Hmm. Antonio Kieser: 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 Antonio Kieser: 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 Edmund Self: Mm-hmm. Antonio Kieser: and bigger, basically. Antonio Kieser: 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 Edmund Self: Okay. James Howard: Thanks. Antonio Kieser: anything that you would like to know or Edmund Self: Do you have any um i idea about costs at this point? Antonio Kieser: No, Edmund Self: Br Antonio Kieser: I don't have any idea about what each component costs. Um Edmund Self: Okay. Antonio Kieser: yeah. Edmund Self: 'Cause that's something Antonio Kieser: Anything else? Edmund Self: to consider, I guess, if we're Antonio Kieser: Yeah. Edmund Self: if we're using more advanced technology, it might Antonio Kieser: Certainly, yeah. So Edmund Self: increase Antonio Kieser: so tha yeah, Edmund Self: the Antonio Kieser: we Edmund Self: price. Antonio Kieser: definitely need to operate within our constraints, Edmund Self: Yeah. Antonio Kieser: but um unfortunately I I do not have any data, so uh I just identified the functional components for Edmund Self: That's Antonio Kieser: that. Edmund Self: 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 James Howard: I Edmund Self: at James Howard: think Edmund Self: the end? James Howard: we need like some general discussion at the end Edmund Self: Yeah, James Howard: probably. Antonio Kieser: Yeah, Edmund Self: I think that will do. James Howard: Yeah. Antonio Kieser: okay. Edmund Self: Okay, so do you want to James Howard: Yeah, I think since since we were discussing some um issues then Edmund Self: Yes, James Howard: I I Edmund Self: shall James Howard: I would like to continue Edmund Self: shall James Howard: okay, Edmund Self: we pull this James Howard: yeah. Edmund Self: up? I think that has to come out of Antonio Kieser: Yeah. Edmund Self: there. Antonio Kieser: Mm Edmund Self: Yeah. Antonio Kieser: 'kay. James Howard: Thanks. Edmund Self: Yeah, I thought James Howard: Oh i Edmund Self: those last minute things, they're gonna hit you the worst. James Howard: Okay, I hope wait. Should it just Antonio Kieser: I it'll take some time. Edmund Self: It ta takes a little James Howard: There's just Edmund Self: Oh, James Howard: nothing. Edmund Self: and have you you need to then also press on yours, James Howard: Oh right, right, right, Edmund Self: function James Howard: um Edmund Self: F_ eight, so the blue function key at the bottom James Howard: Okay. Edmund Self: and F_ eight. James Howard: Nothin okay, Antonio Kieser: Oh, James Howard: something Antonio Kieser: there it is, yeah. James Howard: is coming Edmund Self: Now James Howard: up. Edmund Self: it's coming, Antonio Kieser: It'll come up, it Edmund Self: computer Antonio Kieser: um uh James Howard: No signal? Edmund Self: no Antonio Kieser: no signal. Edmund Self: signal. James Howard: Why? Edmund Self: Maybe again? Antonio Kieser: Yeah yeah, it says something now, James Howard: Oh. Antonio Kieser: adjusting James Howard: My my computer went blank now. Edmund Self: Okay, James Howard: Adjusting. Edmund Self: adjusting. James Howard: But I don't see Edmund Self: There James Howard: anything Edmund Self: we go, Antonio Kieser: Okay. Edmund Self: there we go. James Howard: I don't see anything on my computer now. This Antonio Kieser: Oh, that's James Howard: is the Edmund Self: Oh, James Howard: problem, Edmund Self: if Antonio Kieser: strange. Edmund Self: you James Howard: but Edmund Self: press if you press function and that again there's there's usually three modes, one where it's only here, one where Antonio Kieser: Okay. Edmund Self: it's only there, and one where it's both. James Howard: Um. Antonio Kieser: And Edmund Self: Okay, so one Antonio Kieser: one Edmund Self: more Antonio Kieser: more time. Edmund Self: time. James Howard: Uh now it's okay. No? No. Edmund Self: Should Antonio Kieser: Mm. Edmund Self: yeah just wait for a moment, adjusting. James Howard: Oh okay. Okay, Edmund Self: Okay. James Howard: 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. Edmund Self: Mm-hmm. James Howard: 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. Edmund Self: Mm-hmm. James Howard: 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 Antonio Kieser: Sorry, James Howard: I Antonio Kieser: cou James Howard: als Antonio Kieser: could you go back for James Howard: okay. Antonio Kieser: a second? Uh switching on off channel, uh volume, okay, that's great. James Howard: '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 Edmund Self: Mm-hmm. James Howard: 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. Edmund Self: Mm-hmm. James Howard: So at the for the time being that's uh that's all. If you Edmund Self: Yeah. James Howard: have questions Edmund Self: 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. James Howard: 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 Edmund Self: Mm-hmm. James Howard: besides video and D_V_D_ there are the mm um video C_D_s and whatever, so Edmund Self: Yeah. James Howard: it might be problematic to to choose between Edmund Self: Mm-hmm. James Howard: all these possible things. Edmund Self: Okay. Are there any questions for clarification of Maarika before we go on to the next one? Antonio Kieser: 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? James Howard: Um well, I think the buttons are still mm kind of the most um easy for the user to use, I mean Antonio Kieser: Right. James Howard: um what other options would you have? A little screen or something, but this would be really Antonio Kieser: Yeah, James Howard: kind of Antonio Kieser: and James Howard: I Antonio Kieser: it'll James Howard: think a lot Antonio Kieser: make James Howard: of Antonio Kieser: the James Howard: learning Antonio Kieser: costs James Howard: for the user Antonio Kieser: yeah. James Howard: 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 Antonio Kieser: Right. James Howard: I dunno. Edmund Self: Mm-hmm. James Howard: I think I th I would I would think the put the buttons, but if if you have other mm proposals Antonio Kieser: Uh I James Howard: um. Antonio Kieser: think the Edmund Self: Mm. Antonio Kieser: co costs will also play a big role when we come to know about them. So James Howard: Yeah. Edmund Self: Mm. Antonio Kieser: well we can probably wait until t we have more knowledge on that. James Howard: Yeah. Antonio Kieser: 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. James Howard: Mm-hmm. Antonio Kieser: So Edmund Self: Mm-hmm. Antonio Kieser: yeah? James Howard: Yep. Antonio Kieser: Cool. Edmund Self: Sure, we can discuss that maybe after the next one. Daniel Hance: Cool. Edmund Self: Do Daniel Hance: Do Edmund Self: you want Daniel Hance: wanna Edmund Self: to Daniel Hance: give Daniel Hance the little cable thing? Edmund Self: yeah. James Howard: Uh am I going in the right direction? No. Wait. Daniel Hance: Yeah. Edmund Self: Oh, I'm James Howard: comes. Edmund Self: getting hungry. James Howard: Okay, here you are. Daniel Hance: Cool. Daniel Hance: Ah, that's why it won't meet. Okay, cool. Edmund Self: You set? Daniel Hance: Yep, cool. Okay, functional requirements. Edmund Self: Uh we need to do the function key thing so that it comes up on Daniel Hance: Alright, Edmund Self: here. Daniel Hance: yeah. Edmund Self: Hello. Antonio Kieser: try Edmund Self: Is Antonio Kieser: to Edmund Self: it Antonio Kieser: press Edmund Self: plugged Daniel Hance: It's working. Edmund Self: in Antonio Kieser: oh, Edmund Self: prop Antonio Kieser: okay, Edmund Self: it's working? Okay. Antonio Kieser: yep. Edmund Self: Excellent. Daniel Hance: 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 Daniel Hance 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 Edmund Self: It's um switching between channels, sort of randomly going through. Daniel Hance: Oh, right. But you have that little thing that comes up at the bottom and tells you what's on. Um okay, Antonio Kieser: Mm. Daniel Hance: 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 Antonio Kieser: Right. Daniel Hance: know, do you need all the buttons on the remote control, Edmund Self: Mm. Daniel Hance: they just make it look ugly. Okay? Cool. Um so this is my little Edmund Self: Ooh, Daniel Hance: graph Edmund Self: that's Daniel Hance: thing. Edmund Self: a bit difficult to see. Daniel Hance: Mm Edmund Self: If Daniel Hance: k Edmund Self: you explain it to us it'll be fine. Daniel Hance: Okay, well, I can send it to all of you. Edmund Self: Yeah. Daniel Hance: What it is is um it's cones, 'cause I thought they'd be more exciting. Um Edmund Self: I Daniel Hance: but Edmund Self: liked the, I liked Daniel Hance: ooh Edmund Self: the litt ooh Daniel Hance: where's it go? Edmund Self: come back. Daniel Hance: Back. Oh. Edmund Self: No. Daniel Hance: Oh yes, cool. Okay, I'm gonna stop playing with the little pointy thing. Antonio Kieser: Mm-hmm. Daniel Hance: Um okay, so like what it shows is how much things are used relatively and what Edmund Self: Okay. Daniel Hance: 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. Edmund Self: Mm-hmm, that's the next one along, yeah? Daniel Hance: 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 Edmund Self: Mm-hmm. Daniel Hance: and so that's the the numbers along the top represent their like um their importance, you Edmund Self: Mm-hmm. Daniel Hance: 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. Edmund Self: Mm-hmm. Daniel Hance: Okay. This is the bit that the email messed up for Daniel Hance 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. Edmund Self: Mm-hmm. Daniel Hance: I think if you're watching enough T_V_ to get repetitive strain injury from um you Edmund Self: The remote Daniel Hance: know, watching Edmund Self: control. Daniel Hance: T_V_, then that's the least of your problems, but you know, Antonio Kieser: Mm. Daniel Hance: 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 Antonio Kieser: Right. Daniel Hance: something that encourages you want something with an ergonomic t design that encourages good use of the remote control and Edmund Self: Mm-hmm. Antonio Kieser: Mm-hmm. Daniel Hance: you know, not straining your wrists watching T_V_. Antonio Kieser: Hmm. Daniel Hance: 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. Edmund Self: That's alright. Daniel Hance: 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 Edmund Self: Mm. Daniel Hance: and um, you know, how are you going to stop it from just flipping channels whilst watching T_V_. Antonio Kieser: Right. Daniel Hance: 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 Antonio Kieser: Mm. Daniel Hance: for both. Antonio Kieser: Mm. Daniel Hance: 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 Antonio Kieser: Mm. Daniel Hance: a mobile phone Antonio Kieser: Some kind Edmund Self: Keys Antonio Kieser: of a ring, Edmund Self: and things Antonio Kieser: some Edmund Self: like Daniel Hance: Yeah, Edmund Self: that, Daniel Hance: that's it, you know. Edmund Self: Whistle and it Daniel Hance: I know, it's Edmund Self: screams Daniel Hance: weird. Edmund Self: at you, Daniel Hance: My flatmate Edmund Self: yeah. Daniel Hance: 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_, Edmund Self: Mm-hmm. Antonio Kieser: Right. Daniel Hance: 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? Antonio Kieser: Hmm. Daniel Hance: Cool. That's Daniel Hance. Edmund Self: That's you, Antonio Kieser: Okay, Edmund Self: excellent. James Howard: Um that's Antonio Kieser: that's great, James Howard: very good, Antonio Kieser: thanks. James Howard: very interesting. Edmund Self: Um. I'm just gonna tick yes. So, we've got about ten, fifteen minutes to Antonio Kieser: Mm. Edmund Self: discuss Antonio Kieser: I think one of the very interesting things that came up in um uh Ka Kate Daniel Hance: Cat's. Antonio Kieser: Cat Cat's Daniel Hance: Ca. Antonio Kieser: 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. Edmund Self: Mm-hmm. Daniel Hance: Yeah, I mean that's the thing is that it didn't say in the survey, you know, Antonio Kieser: Right. Daniel Hance: whether, you know, these are the people that will pay more for a more stylish remote control, but I'm assuming, you know, yes. Antonio Kieser: Right. Bu Edmund Self: Yeah. Antonio Kieser: but James Howard: Mm-hmm. Antonio Kieser: 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 Edmund Self: Mm-hmm. Antonio Kieser: th it'll certainly be more popular with this i ye with the younger people as compared to older Edmund Self: Yeah. Antonio Kieser: people, yeah. Edmund Self: Then again I guess the th where it was most popular was the fifteen to twenty five bracket Antonio Kieser: Right, Edmund Self: and Antonio Kieser: and Edmund Self: the I don't know how often they're buying televisions. Antonio Kieser: Right. Daniel Hance: Well, Antonio Kieser: Mm. Daniel Hance: that's when you go to uni, isn't it? So, Edmund Self: Yeah, Daniel Hance: you Edmund Self: but you don't Daniel Hance: know Edmund Self: have much money, James Howard: Yeah. Edmund Self: generally. James Howard: Yeah, Edmund Self: I would've James Howard: you share Edmund Self: thought it's James Howard: a television or something that yeah. Edmund Self: 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 Antonio Kieser: Right. Daniel Hance: Yeah. Antonio Kieser: But uh still, if if you can go back to that slide and Edmund Self: O Antonio Kieser: uh, Edmund Self: oh Antonio Kieser: how Edmund Self: it's Daniel Hance: Oh, I've Edmund Self: on Antonio Kieser: popular Edmund Self: sorry, Daniel Hance: unplugged Antonio Kieser: was Edmund Self: we unplugged Antonio Kieser: it? Daniel Hance: it. Do you want Antonio Kieser: Oh, Edmund Self: it. Antonio Kieser: oh, Daniel Hance: Daniel Hance to Antonio Kieser: okay. Edmund Self: Here, let Daniel Hance Antonio Kieser: That's alright, if you can just look it up on your computer, Edmund Self: Yeah. Daniel Hance: Yeah. Antonio Kieser: wh uh um people between twenty five to thirty five, uh how popular Daniel Hance: Seventy Antonio Kieser: was Daniel Hance: six James Howard: It was Daniel Hance: point James Howard: seventy Antonio Kieser: so it was Daniel Hance: three Antonio Kieser: sti James Howard: something, Daniel Hance: percent. Antonio Kieser: still James Howard: yeah, Antonio Kieser: still quite popular James Howard: yeah. Antonio Kieser: amongst them. Daniel Hance: Yeah. Edmund Self: Mm-hmm. Antonio Kieser: So even they are seventy six percent, is that high Daniel Hance: Yeah, Antonio Kieser: amount? Edmund Self: Yeah. Daniel Hance: 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, Edmund Self: Yeah, Daniel Hance: if Edmund Self: they've Daniel Hance: you're at Edmund Self: got Daniel Hance: university, Edmund Self: no commitments Daniel Hance: you're paying Edmund Self: and Daniel Hance: your rent, but you don't have a mortgage, you don't have a life insurance policy, Antonio Kieser: Alright. Edmund Self: usually Daniel Hance: you don't Edmund Self: not a car and all Daniel Hance: normally Edmund Self: of those Daniel Hance: have Edmund Self: things. Daniel Hance: a car, yeah, so. Edmund Self: Kids. Antonio Kieser: Yeah. Daniel Hance: You're Edmund Self: Yeah. Daniel Hance: still Antonio Kieser: So you're Daniel Hance: learning Antonio Kieser: more Daniel Hance: to drive Antonio Kieser: likely to Daniel Hance: actually, Antonio Kieser: b Daniel Hance: so that just costs more than a car, Antonio Kieser: Yeah. Daniel Hance: but yeah. Um so I mean like it is an age group to target, really, Edmund Self: Yeah, Daniel Hance: I think. Edmund Self: and if we're if we're talking twenty five Euros as a price, that's not unaffordable, even for Daniel Hance: No, I mean that's Edmund Self: young Daniel Hance: what, Edmund Self: people. Daniel Hance: that's like fifteen Pounds? Edmund Self: Yeah. Daniel Hance: You know, I James Howard: Yeah this this Daniel Hance: think James Howard: is not unaffordable, but the problem is whether people need it, whether they do have a T_V_ to Edmund Self: Yeah. James Howard: use its full Daniel Hance: Yeah, Antonio Kieser: Yeah. Daniel Hance: I d I don't know many people without a T_V_. James Howard: Yeah. Edmund Self: But Daniel Hance: We Edmund Self: do Daniel Hance: didn't Edmund Self: they Daniel Hance: have a T_V_ last year, and everyone thought we were off our heads, you Edmund Self: But Daniel Hance: know. Edmund Self: the T_V_s are often kind of James Howard: Common, Edmund Self: someone's James Howard: the students Edmund Self: old James Howard: yeah, Edmund Self: T_V_ James Howard: yeah. Edmund Self: that's James Howard: The s Edmund Self: blah James Howard: the Edmund Self: blah James Howard: stu Edmund Self: and James Howard: yeah, and Edmund Self: be a bit James Howard: the Edmund Self: strange James Howard: remote control Edmund Self: to have a James Howard: might Edmund Self: fancy James Howard: not yeah, Edmund Self: rome remote. James Howard: it might Antonio Kieser: Mm. James Howard: not even function with the old T_V_. Daniel Hance: Yeah, I d Edmund Self: Mm. Daniel Hance: well we've we've Antonio Kieser: Bu Daniel Hance: got quite Antonio Kieser: but even Daniel Hance: a d decent Antonio Kieser: even in Daniel Hance: T_V_. Antonio Kieser: the case of twenty five to thirty five it's James Howard: Yeah, Antonio Kieser: quite James Howard: we're still Antonio Kieser: popular, Edmund Self: Yeah. James Howard: yeah. Antonio Kieser: right? So mm uh are James Howard: Or Daniel Hance: Yeah. James Howard: w maybe Antonio Kieser: are James Howard: we can Antonio Kieser: are James Howard: just kind of uh uh Daniel Hance: 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 Edmund Self: Yeah. Antonio Kieser: Mm. Daniel Hance: remote control, does say quite a lot really. You know, so I Edmund Self: Yeah. Daniel Hance: mean that and the disposable income and I don't think it's something to ignore, you know. James Howard: Yeah, but at the same time I think maybe we can we can just decide to to have both of these groups as our Edmund Self: Yeah. James Howard: target, because actually I mean they're all still Daniel Hance: Is James Howard: re young Daniel Hance: not a massive James Howard: people. Daniel Hance: difference, James Howard: Yeah. Daniel Hance: you know. Edmund Self: Yeah, Daniel Hance: No, Edmund Self: if we Daniel Hance: do Edmund Self: ta if Daniel Hance: totally. Edmund Self: we take Antonio Kieser: Mm. Edmund Self: fifteen to thirty five, but that James Howard: Yeah. Edmund Self: then does imply that we should try and incorporate voice recognition. Is that gonna Antonio Kieser: Um Edmund Self: have a an implication Antonio Kieser: I Edmund Self: for the Antonio Kieser: was having a a Edmund Self: technical Antonio Kieser: general Edmund Self: specs? Antonio Kieser: 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? Edmund Self: Mm-hmm. Antonio Kieser: Uh and Daniel Hance: You do Antonio Kieser: uh Daniel Hance: have it in your mobile phone though, don't you? Because you have like I mean every Edmund Self: Yeah. Daniel Hance: mobile phone now has like call this person and Antonio Kieser: Yeah. Daniel Hance: it calls them. Antonio Kieser: But how frequently James Howard: Yeah. Antonio Kieser: do we use it anyway and um James Howard: Yeah. Antonio Kieser: uh h ho how good is it, you know uh voice recognition softwares are still Daniel Hance: I don't know. Antonio Kieser: quite Edmund Self: Yeah. With Antonio Kieser: uh Edmund Self: um James Howard: An Edmund Self: 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 Antonio Kieser: Yeah. Edmund Self: off channel James Howard: Yeah. Edmund Self: five, Daniel Hance: Yeah. Antonio Kieser: Right. Edmund Self: louder, Daniel Hance: S Edmund Self: tha Daniel Hance: so Antonio Kieser: Right. Edmund Self: that should be relatively simple. Antonio Kieser: Okay. Daniel Hance: y you'd Antonio Kieser: O Daniel Hance: maybe need a code word. Do you know what I mean? Antonio Kieser: Right. Edmund Self: Mm. Daniel Hance: 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_? Edmund Self: Yeah. Antonio Kieser: Mm. Daniel Hance: Although I only watch Charmed, so really I wouldn't know but like so you'd just say remote five, you Antonio Kieser: Right. Daniel Hance: know, remote ten, Antonio Kieser: Yeah. Edmund Self: Mm-hmm. Daniel Hance: remote one two nine. Antonio Kieser: Okay, so it seems James Howard: Yeah. Antonio Kieser: like a feasible thing to implement Edmund Self: Yeah, but Antonio Kieser: uh Edmund Self: maybe if you Antonio Kieser: for Edmund Self: wanna look Antonio Kieser: for Edmund Self: into Antonio Kieser: a limited Edmund Self: that just to just Antonio Kieser: yeah. Edmund Self: to check. Um, so if we go for the the fifteen to thirty five age group James Howard: Yeah but Edmund Self: and James Howard: uh Edmund Self: then of course James Howard: um Edmund Self: we're going to get th anyone who's older than thirty five who wants to look young and hip and trendy James Howard: Yeah, Edmund Self: and James Howard: yeah Edmund Self: has James Howard: sure, Edmund Self: the money, then they'll James Howard: yeah, yeah. Edmund Self: they'll still go for the same James Howard: Yeah. Edmund Self: advertising. Daniel Hance: I don't think there's a lot of uh voice recognition remote James Howard: Yeah, Daniel Hance: controls. James Howard: 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 Edmund Self: Yeah, James Howard: um, yeah it's it's kind Edmund Self: I think James Howard: of Antonio Kieser: Mm. Edmund Self: we need James Howard: safer, Edmund Self: both. James Howard: so Antonio Kieser: W James Howard: we we need both, Antonio Kieser: What James Howard: so the voice Antonio Kieser: uh James Howard: recognition would be just an extra, it wouldn't really Edmund Self: Yeah. James Howard: reduce the size of the remote. Antonio Kieser: Mm. Edmund Self: Mm. Antonio Kieser: 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 Edmund Self: Uh-huh. Antonio Kieser: channel number forty five. Daniel Hance: Yeah, Edmund Self: Uh-huh. Antonio Kieser: Yeah, Daniel Hance: that Antonio Kieser: so Daniel Hance: would be another Antonio Kieser: if Daniel Hance: way Antonio Kieser: uh if Daniel Hance: to do it. Antonio Kieser: something like that can be incorporated, Edmund Self: So that if that was in the the Antonio Kieser: some Edmund Self: voice Antonio Kieser: kind of Edmund Self: recognition, that Daniel Hance: Yeah, Edmund Self: would be Daniel Hance: but Edmund Self: great. Daniel Hance: then the code word would be even more important, because I mean Sky Edmund Self: Yeah. Daniel Hance: advertise on every channel, don't Edmund Self: Yeah. Antonio Kieser: Mm-hmm. Daniel Hance: 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. Edmund Self: Watch Sky and Daniel Hance: Yeah, Antonio Kieser: Alright. Edmund Self: yeah. Daniel Hance: yeah, and Antonio Kieser: Yeah, Daniel Hance: that Antonio Kieser: that's Daniel Hance: would be really annoying. Antonio Kieser: Right. Edmund Self: Mm-hmm. But that's James Howard: Yeah Edmund Self: definitely James Howard: but Antonio Kieser: Mm. Edmund Self: a James Howard: m but on the other Edmund Self: possibility. James Howard: hand, remote control isn't as close to you you probably might just just uh speak into it and Edmund Self: Yeah. James Howard: and the T_V_ would be already further away, so it might not Daniel Hance: Yeah. James Howard: pick up the other things coming Daniel Hance: Do James Howard: from Daniel Hance: you not James Howard: there. Daniel Hance: think that defeats the object of having voice recognition on a remote control though? Edmund Self: So that you can yell at it, Daniel Hance: Yeah, you know, so Edmund Self: yeah. Daniel Hance: 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, Edmund Self: Yeah. Daniel Hance: yeah. Edmund Self: Alright. James Howard: 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 Daniel Hance: Yeah, James Howard: near yourself. Daniel Hance: yeah, I suppose nearer to you but a b like if you have surround sound then Antonio Kieser: Mm Edmund Self: Mm. Antonio Kieser: yeah and it might become very difficult from a distance for the television to understand what you're saying because of the noise James Howard: Yeah, Antonio Kieser: factor James Howard: yeah, Edmund Self: Yeah. James Howard: yeah. Antonio Kieser: for the remote control being cl James Howard: No, but Antonio Kieser: I James Howard: I I Antonio Kieser: mean James Howard: I Antonio Kieser: it'll James Howard: was Antonio Kieser: it'll James Howard: just defending the Antonio Kieser: mm. James Howard: the Edmund Self: Yeah. James Howard: fact why why we want to keep the remote control close to us, a Antonio Kieser: Yeah. James Howard: and Edmund Self: Yeah. James Howard: uh not to yell at it from the distance. Antonio Kieser: Mm. Edmund Self: Yeah. Antonio Kieser: 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 Edmund Self: Mm-hmm. Antonio Kieser: um and the remote control, wherever it is, it'll beep, so Edmund Self: That's Antonio Kieser: we we can probably James Howard: Okay. Antonio Kieser: come to Edmund Self: but Antonio Kieser: know Daniel Hance: Yeah. Edmund Self: then Antonio Kieser: where Edmund Self: if Antonio Kieser: it Edmund Self: you're Antonio Kieser: is. Edmund Self: buying the remote separately, but y you could have James Howard: Oh Edmund Self: something, James Howard: yeah, yeah. Edmund Self: but i if it was something that you could like stick onto the T_V_ or something, Antonio Kieser: Right, yeah, James Howard: Okay, Edmund Self: some Antonio Kieser: yeah, Edmund Self: like a James Howard: yeah, Edmund Self: two p Antonio Kieser: yeah. Edmund Self: if you bought James Howard: mm-hmm. Edmund Self: it in a two part pack, so one part attaches Daniel Hance: Yeah, Edmund Self: to Daniel Hance: 'cause Edmund Self: the T_V_. Daniel Hance: it's it's quite important that you don't lose the the bit Edmund Self: The Daniel Hance: to Edmund Self: l Daniel Hance: locate the remote control. Edmund Self: Well Antonio Kieser: Alright, Edmund Self: that's right, Antonio Kieser: yeah. Edmund Self: but it solves the problem of having different noises. Daniel Hance: Yeah, definitely, yeah. Edmund Self: 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 James Howard: The Edmund Self: buttons, James Howard: major ones, Edmund Self: the major James Howard: yeah. Edmund Self: buttons and then one sort of menu one, and then voice recognition included as an option James Howard: Mm-hmm. Antonio Kieser: Right. Edmund Self: um but that obviously needs a little bit more working out as to whether it's really feasible Antonio Kieser: Okay. Edmund Self: 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 Daniel Hance your presentations so that I can use them to make the minutes, and then we've got a lunch break James Howard: Mm-hmm. Edmund Self: 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 Antonio Kieser: So Edmund Self: that you know. Antonio Kieser: where Edmund Self: It should Antonio Kieser: exactly Edmund Self: be on your desktop, Antonio Kieser: is this i Edmund Self: so on the Antonio Kieser: Ah, okay. Edmund Self: yeah. Antonio Kieser: Yeah. James Howard: Yeah. Edmund Self: So I'll put it I'll put them there as soon as I've written James Howard: Did you Edmund Self: them. James Howard: find it? It's Antonio Kieser: Yeah, James Howard: just Antonio Kieser: yeah James Howard: yeah, Antonio Kieser: in that James Howard: yeah. Antonio Kieser: one, right yeah. Edmund Self: Yeah, and email them round. Daniel Hance: Oh, so y you want our um PowerPoint presentations in there, Edmund Self: Yeah, Daniel Hance: hey? Edmund Self: that would be great. Daniel Hance: Okay. James Howard: Oh so so we'll just put Edmund Self: Oh James Howard: them Edmund Self: yeah, James Howard: i there, Edmund Self: put them James Howard: we Edmund Self: in James Howard: we Edmund Self: there. James Howard: yeah, Edmund Self: Yeah, James Howard: w Daniel Hance: There James Howard: we Daniel Hance: you go. James Howard: won't Edmund Self: then you don't James Howard: even Edmund Self: have to James Howard: okay. Edmund Self: email them. Daniel Hance: But is everyone's called functional requirements? Edmund Self: No, Antonio Kieser: No. Edmund Self: they're all called something slightly different. Technical requirements Daniel Hance: Okay, Edmund Self: and something something, Daniel Hance: so that's good. Edmund Self: yeah. James Howard: Yeah. Daniel Hance: That's Edmund Self: So, Daniel Hance: Daniel Hance done. Edmund Self: if you put them in there, we'll all be able to see them and refer to them if we need to. Daniel Hance: Okay, cool. Edmund Self: Um as to where we're going from here, you're going to look at the components concept. Antonio Kieser: Right. Edmund Self: Yeah? Whatever that means. James Howard: Yeah. Edmund Self: Yeah. Antonio Kieser: I guess I'll find out. Edmund Self: You'll be looking you'll be looking at the user interface James Howard: Uh something Edmund Self: concept, James Howard: conceptual, yeah. Edmund Self: 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 Antonio Kieser: Wha Edmund Self: keep keep Antonio Kieser: what Edmund Self: our Antonio Kieser: was Edmund Self: options Antonio Kieser: it again Edmund Self: op hmm? Antonio Kieser: that I was supposed to look into? Con Edmund Self: Components, Antonio Kieser: components, oh. James Howard: Hmm. Sorry, but Edmund Self: yeah. James Howard: um the next meeting um are we going to have it um right after lunch or shall Edmund Self: No, James Howard: we prepare Edmund Self: we have James Howard: our Edmund Self: we have after lunch we have thirty minutes James Howard: To Edmund Self: to James Howard: prepare, Edmund Self: ourselves James Howard: okay, Edmund Self: to prepare, James Howard: yeah, that's Edmund Self: so James Howard: good. Edmund Self: that's fine, w before lunch we just have to complete the questionnaire and some sort of summary. James Howard: Okay. Edmund Self: Okay? Right James Howard: Cool. Edmund Self: on time. Okay, so you can I guess we'll see you for lunch in James Howard: Okay, Edmund Self: a sec? James Howard: see you.

Edmund Self opens the meeting by stating that they will address functional design and then going over the agenda. Antonio Kieser 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. Daniel Hance 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, Edmund Self closes the meeting by allocating tasks.

amisum

train

Scotty Encino: 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 Charles Woods has been watching. Geoffrey Swaine: Right. Scotty Encino: Okay. Um, do you wanna start again? Geoffrey Swaine: Okay. Scotty Encino: Let Charles Woods we've Geoffrey Swaine: Right Scotty Encino: got forty Geoffrey Swaine: s Scotty Encino: minutes. Geoffrey Swaine: so I haven't made a PowerPoint Scotty Encino: You haven't Geoffrey Swaine: presentation, Scotty Encino: made a PowerPoint, okay. Geoffrey Swaine: yeah, I I thought I'll use the whiteboard instead. Scotty Encino: Mm-hmm. Geoffrey Swaine: Um mm, Scotty Encino: Let's hope the pen holds out. Geoffrey Swaine: 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 Scotty Encino: Mm-hmm. Geoffrey Swaine: 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 Scotty Encino: Yeah. Geoffrey Swaine: 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? Scotty Encino: Mm-hmm. Geoffrey Swaine: 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. Scotty Encino: Mm-hmm. Geoffrey Swaine: 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_ Scotty Encino: Yeah. Geoffrey Swaine: 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 Scotty Encino: Mm-hmm. Geoffrey Swaine: 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. Scotty Encino: Mm-hmm. Geoffrey Swaine: 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, Scotty Encino: Mm-hmm. Geoffrey Swaine: right? So they can be simple which is like uh the normal batteries in uh our uh the cells, yeah? Scotty Encino: Yeah. Geoffrey Swaine: Uh thes these are the kind different kind of batteries that the company makes, right? So. And dynamos. Um Charles Woods: Does that mean like a wind-up one? Geoffrey Swaine: yeah, yeah. So uh Charles Woods: A wind-up remote. Geoffrey Swaine: I don't know if even if you want to consider this, but these are the different things that the company makes, so Scotty Encino: Okay. Geoffrey Swaine: th they'll they'll since uh they'll come internally from the company, they'll be eas uh cheaper, uh all these options. Scotty Encino: Mm-hmm. Geoffrey Swaine: So the third one is uh the kinetic energy ones. Charles Woods: You could make the hand dynamo into an exercise bike, and then people could exercise whilst watching T_V_. Geoffrey Swaine: Yeah. Scotty Encino: And charging their remote, Charles Woods: Yeah, Scotty Encino: yeah. Charles Woods: and stop worrying about the whole R_S_I_ from the remote thing, 'cause Geoffrey Swaine: Yeah, Charles Woods: that's just Geoffrey Swaine: it's a good option. Tommy Dunleavy: So what was what was Geoffrey Swaine: The Tommy Dunleavy: this k Geoffrey Swaine: the kinetic energy one is uh that e uh uh they are usually modern watches, Tommy Dunleavy: Okay. Geoffrey Swaine: since our Scotty Encino: Uh Geoffrey Swaine: hand Scotty Encino: yeah. Geoffrey Swaine: keeps moving, it keeps the watch ticking. But Scotty Encino: Mm-hmm. Geoffrey Swaine: I dunno i if it is a good idea for a remote control, Scotty Encino: For a remote, Geoffrey Swaine: because Scotty Encino: 'cause you Geoffrey Swaine: it'll just lie there for a Scotty Encino: Yeah. Geoffrey Swaine: long while sometimes. But Tommy Dunleavy: Mm-hmm. Geoffrey Swaine: as soon as you pick it up it moves and then again it uh re recharges or something. Scotty Encino: Yeah. Geoffrey Swaine: And the fourth option is the solar cells, Charles Woods: Yay. Geoffrey Swaine: which are also made by the company. Environment friendly. Okay um so I'll list things and then we can come back and discuss Scotty Encino: Yeah. Geoffrey Swaine: 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, Scotty Encino: Mm-hmm. Geoffrey Swaine: they can be curved with uh one-sided curved and one side flat, and they can be curved with on both the sides. Scotty Encino: Mm-hmm. Geoffrey Swaine: These are the three options, right? Um Tommy Dunleavy: Um you mean this would be like the the overall shape of the remote control, yeah, Geoffrey Swaine: Yeah, Tommy Dunleavy: mm-hmm. Geoffrey Swaine: would it be flat on both the Tommy Dunleavy: Yeah, Geoffrey Swaine: sides, Tommy Dunleavy: mm-hmm, Geoffrey Swaine: would be curved Tommy Dunleavy: mm-hmm. Geoffrey Swaine: from one side, or Tommy Dunleavy: Mm-hmm Scotty Encino: Mm-hmm. Geoffrey Swaine: whatever Tommy Dunleavy: mm-hmm. Geoffrey Swaine: uh there were different kind of supplements available, um like it can be in plastic, rubber, wood, or Scotty Encino: Mm-hmm. Geoffrey Swaine: titanium, Scotty Encino: Okay. Geoffrey Swaine: right? Charles Woods: Did you say Geoffrey Swaine: Wo Charles Woods: wool? Scotty Encino: Wood, Geoffrey Swaine: wo wood. Scotty Encino: wood. Charles Woods: Wood. Geoffrey Swaine: Yeah. Charles Woods: Oh right. Scotty Encino: A fluffy Geoffrey Swaine: Not wool. Scotty Encino: remote. Charles Woods: Yeah, you'll understand why when we get to my presenta. Geoffrey Swaine: Oh really? Okay. Scotty Encino: Huh. Geoffrey Swaine: 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. Scotty Encino: Mm. Geoffrey Swaine: For for these two we can use titanium, wood, rubber, or plastic. Scotty Encino: Mm-hmm. Geoffrey Swaine: 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 Charles Woods: Sony. Geoffrey Swaine: uh mouse pointers Scotty Encino: Mm-hmm. Geoffrey Swaine: uh uh Charles Woods: Sony Ericsson mobile phones has it. Geoffrey Swaine: Yeah, yeah, something like that. Charles Woods: Mm. Geoffrey Swaine: So, and they have they can even have an an integrated uh push-button inside the scrolling Scotty Encino: Okay. Geoffrey Swaine: 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. Scotty Encino: Mm-hmm. Geoffrey Swaine: 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 Scotty Encino: Mm-hmm. Geoffrey Swaine: the various integrated circuit options are, we have either a simple one or a regular or advanced. And uh the price goes up Scotty Encino: Mm-hmm. Geoffrey Swaine: 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. Scotty Encino: Mm-hmm. Geoffrey Swaine: Um the we need regular or advanced for uh scroll wheels. Right? Um and the chip basically includes the infra infrared sender. Scotty Encino: Mm-hmm. Geoffrey Swaine: 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, Scotty Encino: Mm-hmm. Geoffrey Swaine: on. Um and uh I dunno whether sample sender sender has to do something with voice recognition or not, but anyway. Scotty Encino: Mm-hmm. Geoffrey Swaine: 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, Scotty Encino: Yeah. Geoffrey Swaine: keep uh taking out things from this and uh Scotty Encino: Mm-hmm. Geoffrey Swaine: underlining things that are important, Scotty Encino: Excellent. Geoffrey Swaine: yeah. Scotty Encino: Do you wanna Tommy Dunleavy: Okay. Scotty Encino: stay somewhere near the board, so that if we need to Geoffrey Swaine: Yeah, yeah, sure. Scotty Encino: you can sit down, but Geoffrey Swaine: Sure. Scotty Encino: just Geoffrey Swaine: Yeah. Scotty Encino: we might need you to leap up. What Tommy Dunleavy: Okay. Scotty Encino: are you, PowerPoint, or Tommy Dunleavy: Um I have some PowerPoint, yeah. Geoffrey Swaine: Right. Scotty Encino: Okay. Tommy Dunleavy: Oh. Scotty Encino: Do you Tommy Dunleavy: 'Kay. Scotty Encino: think these pens can give you cancer of the hand? Some sort of radiation? Charles Woods: No it's got its little camera in there Scotty Encino: Yeah. Charles Woods: plug, it in. Tommy Dunleavy: Okay. Charles Woods: 'S a Geoffrey Swaine: Yeah, it should should do it. Yeah. Scotty Encino: Right, interface concept. Tommy Dunleavy: 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. Scotty Encino: That's fine. Tommy Dunleavy: So um yeah, this time um I might not have them on the slides but I I can just Scotty Encino: Mm-hmm. Tommy Dunleavy: 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, Scotty Encino: Mm-hmm. Tommy Dunleavy: 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 Scotty Encino: Mm-hmm. Tommy Dunleavy: 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. Geoffrey Swaine: That's Tommy Dunleavy: Ah, Geoffrey Swaine: nice one. Tommy Dunleavy: 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 Charles Woods: Ugly. Tommy Dunleavy: not so nice. Scotty Encino: Mm. Tommy Dunleavy: 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 Scotty Encino: Mm-hmm. Tommy Dunleavy: on it. Geoffrey Swaine: Mm. Tommy Dunleavy: Uh so uh this uh this one was already mentioned uh the L_C_ Scotty Encino: It's Tommy Dunleavy: display. Scotty Encino: yeah. Tommy Dunleavy: 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. Scotty Encino: Yeah. Tommy Dunleavy: 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 Scotty Encino: Uh-huh, Tommy Dunleavy: some hello and Scotty Encino: hi Tommy Dunleavy: your name or whatever. Scotty Encino: yeah. Tommy Dunleavy: So Geoffrey Swaine: Mm. Tommy Dunleavy: I mean this is also one of the n dev new developments which we might consider if we wanted to Geoffrey Swaine: Uh Tommy Dunleavy: include. Geoffrey Swaine: 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 Scotty Encino: It's like the like you said, no? The scroll scroll Charles Woods: Yeah, Geoffrey Swaine: yeah Charles Woods: you Tommy Dunleavy: No Charles Woods: can't Scotty Encino: wheel. Geoffrey Swaine: are Tommy Dunleavy: no, Geoffrey Swaine: th Tommy Dunleavy: 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, Geoffrey Swaine: Oh okay, Tommy Dunleavy: this one here. Charles Woods: Oh, Geoffrey Swaine: the iPod Charles Woods: it's like Tommy Dunleavy: But Charles Woods: the Geoffrey Swaine: thing, Tommy Dunleavy: I'm Charles Woods: iPod. Geoffrey Swaine: yeah. Tommy Dunleavy: I'm not really sure whether whether you can really turn it round, Charles Woods: G yeah, Tommy Dunleavy: it's Charles Woods: no, Tommy Dunleavy: like you Charles Woods: you Tommy Dunleavy: press Charles Woods: can. Tommy Dunleavy: this Geoffrey Swaine: Uh Tommy Dunleavy: or Geoffrey Swaine: it's Tommy Dunleavy: this Geoffrey Swaine: the Charles Woods: It's Geoffrey Swaine: iPod Tommy Dunleavy: or Charles Woods: like Geoffrey Swaine: uh kind of uh Charles Woods: it's like where you you know how you have your your mouse, and Scotty Encino: Uh-huh. Charles Woods: y you go round and i it's kind Geoffrey Swaine: Alright, Charles Woods: of like that and you Geoffrey Swaine: right. Charles Woods: spin round and it Geoffrey Swaine: Okay, okay. Charles Woods: yeah. Geoffrey Swaine: So Charles Woods: It Geoffrey Swaine: instead Charles Woods: is Geoffrey Swaine: of going down you just spin Charles Woods: You Geoffrey Swaine: yeah, Charles Woods: just Scotty Encino: Mm-hmm. Charles Woods: go round and it is a bit Geoffrey Swaine: yeah. Charles Woods: weird at first, but it's actually very like fast. Geoffrey Swaine: Uh-huh. Scotty Encino: Mm-hmm. Charles Woods: 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. Scotty Encino: Mm-hmm. Geoffrey Swaine: Right. Tommy Dunleavy: Uh-huh. Charles Woods: 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_, Geoffrey Swaine: Mm-hmm. Charles Woods: then it's a lot faster than the wheel, but you've got a lot less control over it. Scotty Encino: Mm-hmm. Geoffrey Swaine: Right. So Tommy Dunleavy: Mm. Geoffrey Swaine: maybe I should include that here as well, L_C_D_s Scotty Encino: Yeah. Geoffrey Swaine: um Tommy Dunleavy: Uh Geoffrey Swaine: plus spinning. Scotty Encino: Yeah. Tommy Dunleavy: Okay, and the personal preferences are pretty much the same as as as last time. Scotty Encino: Mm-hmm. Tommy Dunleavy: 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. Geoffrey Swaine: Mm-hmm. Scotty Encino: Mm-hmm. Excellent. Okay, straight to trends, and then we can discuss it Geoffrey Swaine: Right. Scotty Encino: all at once. Charles Woods: Okay, I've put the copy of the presentation in um the Scotty Encino: The project documents. Charles Woods: yeah. Scotty Encino: Excellent. If you two could both do that Geoffrey Swaine: Mm-hmm. Scotty Encino: as well, in case we need to refer to it. Charles Woods: Cool. Scotty Encino: Here it comes. Scotty Encino: Okay. Charles Woods: 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. Scotty Encino: Mm-hmm. Charles Woods: 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. Scotty Encino: Okay. Charles Woods: So, I mean the the easy to use thing is fairly low down on Geoffrey Swaine: Mm-hmm. Charles Woods: the which I think given the target group is what you would expect, really. Scotty Encino: Mm-hmm. Charles Woods: 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. Scotty Encino: Mm-hmm. Geoffrey Swaine: Okay. Charles Woods: And um, yeah it wants to look fancy, fancy look and feel. Geoffrey Swaine: So Charles Woods: So Geoffrey Swaine: um uh maybe uh as you're discussing things, is it okay if we Scotty Encino: Yeah, Geoffrey Swaine: just Scotty Encino: yeah, Geoffrey Swaine: uh Scotty Encino: sure. Geoffrey Swaine: keep Charles Woods: Yeah, Geoffrey Swaine: highlighting things Charles Woods: yeah. Geoffrey Swaine: here? Scotty Encino: Yeah. Geoffrey Swaine: Right. So mm Scotty Encino: That's Geoffrey Swaine: uh Scotty Encino: over on the interface, Geoffrey Swaine: so it Scotty Encino: if if Geoffrey Swaine: yeah, Scotty Encino: you could put Geoffrey Swaine: so probably voice recognition is is kind of Scotty Encino: Yeah. Geoffrey Swaine: important, right? Um Scotty Encino: And maybe the L_C_D_ Geoffrey Swaine: and Scotty Encino: and spinning Geoffrey Swaine: an yeah. Scotty Encino: so Geoffrey Swaine: Okay, Scotty Encino: that Geoffrey Swaine: I Scotty Encino: means Geoffrey Swaine: I Scotty Encino: we Geoffrey Swaine: have Scotty Encino: need Geoffrey Swaine: a Scotty Encino: an Geoffrey Swaine: point Scotty Encino: advanced Geoffrey Swaine: about L_C_D_, Scotty Encino: thing. Geoffrey Swaine: I dunno if it is the right point to take it up. W uh L_C_D_s are basically for feedback, right, to Scotty Encino: Mm-hmm. Geoffrey Swaine: the user who's pressing Charles Woods: Mm. Geoffrey Swaine: buttons, and the feedback can come through television itself, so do we need an L_C_D_ on the remote? Charles Woods: 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 Geoffrey Swaine: Mm. Charles Woods: 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. Scotty Encino: Mm. Charles Woods: And Geoffrey Swaine: Right. Charles Woods: 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. Geoffrey Swaine: Right. Scotty Encino: It it is also Charles Woods: You know? Scotty Encino: quite nice though to to have something here so you don't interrupt the picture on the screen, so if you're Charles Woods: Yeah. Scotty Encino: watching something Geoffrey Swaine: That's true, Charles Woods: And Geoffrey Swaine: yeah, Charles Woods: i Geoffrey Swaine: that's Charles Woods: it would Geoffrey Swaine: also Charles Woods: 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 Scotty Encino: Yeah. Charles Woods: than Scotty Encino: Rather than having to interrupt your Charles Woods: Yeah. Scotty Encino: viewing pleasure. Charles Woods: But Geoffrey Swaine: Right. Charles Woods: 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 Scotty Encino: Mm. Charles Woods: actually get scratched. Geoffrey Swaine: Mm-hmm. Charles Woods: So you can have like what looks like a normal remote control, you know or Scotty Encino: Yeah. Charles Woods: like a minimalist remote control. So you got your buttons one to nine, your on and off Geoffrey Swaine: Mm right. Charles Woods: and your volume on that and then Scotty Encino: And Charles Woods: if Scotty Encino: then Charles Woods: you Scotty Encino: you Charles Woods: want Scotty Encino: can Charles Woods: to Scotty Encino: flip Charles Woods: mess about Scotty Encino: it open. Charles Woods: with it, you flip it open and, yeah. Geoffrey Swaine: Okay. So now we seem to have a consensus that L_C_D_s are definitely the way to go Scotty Encino: Yeah, Geoffrey Swaine: because Scotty Encino: I think Geoffrey Swaine: of Scotty Encino: so. Geoffrey Swaine: style and Charles Woods: Yeah, so that kind of decides your whole chip thing. Geoffrey Swaine: Right. Scotty Encino: Yeah. Geoffrey Swaine: You you agree? Maarika, Tommy Dunleavy: Yep, yeah. Geoffrey Swaine: yeah? Yeah. Scotty Encino: Right. Geoffrey Swaine: So Charles Woods: Okay? Geoffrey Swaine: L_C_D_s, yeah, definitely. Go on. Charles Woods: 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. Scotty Encino: Yeah, and Geoffrey Swaine: Mm-hmm. Scotty Encino: possibly Charles Woods: You know? Scotty Encino: even uneven, like Charles Woods: Yeah, Scotty Encino: not Charles Woods: bit of asymmetry Scotty Encino: not symmet yeah. Charles Woods: and stuff. But that would be a good way to to get in the whole um R_S_I_ issue in there, Scotty Encino: Mm-hmm. Charles Woods: because Geoffrey Swaine: Right. Charles Woods: 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 Tommy Dunleavy: Mm-hmm. Charles Woods: with the right hand. Geoffrey Swaine: Mm. Scotty Encino: Mm-hmm. Charles Woods: Um yeah, I'm not quite sure about the relevance of material will be spongy. Um Scotty Encino: Something a bit squishy and Charles Woods: Yeah, but I mean Geoffrey Swaine: Yeah, we Tommy Dunleavy: So Charles Woods: y Geoffrey Swaine: we Tommy Dunleavy: it Charles Woods: you Geoffrey Swaine: have Tommy Dunleavy: could Charles Woods: have Tommy Dunleavy: be Charles Woods: to Tommy Dunleavy: like a rubbery Geoffrey Swaine: we have rubber, Tommy Dunleavy: yeah, uh-huh. Geoffrey Swaine: but there is a problem that I forgot to discuss with the um with using Charles Woods: Well I suppose you wouldn't get a remote uh an electric shock off your remote control if it was made of rubber. Scotty Encino: Yeah, and it'd help if you drop it, it protects it as well. Charles Woods: Yeah, yeah. Scotty Encino: To some degree. Geoffrey Swaine: 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, Scotty Encino: Uh-huh. Geoffrey Swaine: so um we could use titanium, wood or plastic uh Scotty Encino: Or if Geoffrey Swaine: or Scotty Encino: we want to use the Geoffrey Swaine: uh Scotty Encino: the latex, then we have to go with one of the other um Charles Woods: If Geoffrey Swaine: Yeah, Charles Woods: it's Geoffrey Swaine: w Charles Woods: made Scotty Encino: power Charles Woods: of Geoffrey Swaine: energy Charles Woods: rubber Scotty Encino: things. Charles Woods: you Geoffrey Swaine: source. Charles Woods: could get the kinetic energy fairly easily there, you Scotty Encino: From Charles Woods: could just Geoffrey Swaine: Yeah, Scotty Encino: from Charles Woods: bounce Geoffrey Swaine: tap it Charles Woods: it Scotty Encino: bouncing Geoffrey Swaine: on Charles Woods: up Geoffrey Swaine: the desk, Charles Woods: and down. Scotty Encino: it. Geoffrey Swaine: yeah. Scotty Encino: You can have it as like a little ball to bounce, that Charles Woods: Yeah. Scotty Encino: flips open. Charles Woods: Um Geoffrey Swaine: Mm. Charles Woods: so yeah, um Geoffrey Swaine: So probably Charles Woods: okay. Geoffrey Swaine: double curved surface is the way to go, yeah, Charles Woods: Yeah, Scotty Encino: Mm yeah. Charles Woods: yeah. Geoffrey Swaine: 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 Charles Woods: You have to have a certain element of flatness, I think. Geoffrey Swaine: Yeah. Charles Woods: It it depends on the whole ergonomics of it, you know, put your hands so y it's the least Geoffrey Swaine: Yeah. Charles Woods: movement Geoffrey Swaine: Yeah, Charles Woods: basically. Geoffrey Swaine: singe Scotty Encino: Uh-huh. Geoffrey Swaine: single side curved or double side curved does not say too much, does it? It Charles Woods: No, I Geoffrey Swaine: uh Charles Woods: 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, Scotty Encino: Mm. Charles Woods: but it's curvy, Geoffrey Swaine: Mm. Charles Woods: so. Besides, Scotty Encino: Yeah, Geoffrey Swaine: Uh Scotty Encino: 'cause Charles Woods: you have Scotty Encino: the Charles Woods: four sides Geoffrey Swaine: I think Charles Woods: to a Geoffrey Swaine: uh Charles Woods: thing, so I mean Scotty Encino: Yeah. Charles Woods: does curved one side mean one side is straight Geoffrey Swaine: Right. Charles Woods: and, you know curved two sides means the whole thing is just a big curvy p thing? Geoffrey Swaine: Right. Scotty Encino: Dunno. Geoffrey Swaine: 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. Charles Woods: Yeah. Geoffrey Swaine: Uh eith either we have uh a flat surfaced uh case or a curved surfaced case. It does Scotty Encino: Nothing Geoffrey Swaine: not say anything Scotty Encino: to Geoffrey Swaine: about uh Scotty Encino: open Geoffrey Swaine: whether Scotty Encino: them. Geoffrey Swaine: technically, you know, this this stuff is available at all. Charles Woods: Yeah. Uh it's it's more about the protecting the L_C_D_, which I Geoffrey Swaine: Right, Charles Woods: think is where it came Geoffrey Swaine: yeah, Charles Woods: from. Geoffrey Swaine: yeah. Charles Woods: But no, my research didn't tell Charles Woods anything, which is why we have all the pictures, 'cause I had nothing better to Geoffrey Swaine: Right. Charles Woods: do with my time. Geoffrey Swaine: Okay. Charles Woods: Okay, cool. Scotty Encino: Anything else? What've we got? Charles Woods: Uh combine style with a level of functionality, um beauty and practicality and a thing of beauty and p function. Scotty Encino: Okay, Geoffrey Swaine: Cool, thanks. Charles Woods: Okay? Scotty Encino: so. Tommy Dunleavy: Thanks Scotty Encino: Looking at what we've got, we we want an L_C_D_ display with a spinning Geoffrey Swaine: Yeah. Scotty Encino: wheel. Geoffrey Swaine: Let's let's try to r rub off Scotty Encino: Yeah, Geoffrey Swaine: things Scotty Encino: rub off Geoffrey Swaine: and Scotty Encino: some Geoffrey Swaine: yeah, Scotty Encino: of those. Geoffrey Swaine: so um hand dynamos are definitely out, right? You Tommy Dunleavy: Yeah Geoffrey Swaine: you Scotty Encino: Yeah, Geoffrey Swaine: got a wind Tommy Dunleavy: uh-hum Geoffrey Swaine: dynamo, Scotty Encino: it's Tommy Dunleavy: yeah. Scotty Encino: not Geoffrey Swaine: yeah. Scotty Encino: that's not streamlined and sexy, having Geoffrey Swaine: Okay. Scotty Encino: a having a wind Geoffrey Swaine: Um Scotty Encino: up. Geoffrey Swaine: kinetic energy does seem to have some kind of uh Scotty Encino: I think Geoffrey Swaine: uh Scotty Encino: tha Geoffrey Swaine: appeal, but uh Charles Woods: It's Geoffrey Swaine: it's Charles Woods: about the practicality of it really, isn't Geoffrey Swaine: Yeah. Charles Woods: it? You know? Geoffrey Swaine: As Charles Woods: I mean Geoffrey Swaine: against Charles Woods: if Geoffrey Swaine: 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. Scotty Encino: Depends how much how much movement Geoffrey Swaine: Kinetic energy Scotty Encino: it really Geoffrey Swaine: it Scotty Encino: needs. Geoffrey Swaine: needs Scotty Encino: Pr Geoffrey Swaine: I don't have too Scotty Encino: presumably Geoffrey Swaine: much technical information Scotty Encino: if they're suggesting Geoffrey Swaine: on that, yeah, Scotty Encino: it, then we Geoffrey Swaine: right. Scotty Encino: could use it. Geoffrey Swaine: Okay, let's keep it Scotty Encino: I'd Geoffrey Swaine: option Scotty Encino: I'd keep Geoffrey Swaine: uh keep Scotty Encino: it Geoffrey Swaine: an Scotty Encino: on. Geoffrey Swaine: option, yeah. Um the flat co completely flat case is definitely out, Scotty Encino: We Geoffrey Swaine: right? Scotty Encino: don't want Geoffrey Swaine: It Tommy Dunleavy: Yeah Scotty Encino: that Geoffrey Swaine: has Scotty Encino: it's Geoffrey Swaine: to Tommy Dunleavy: it's Scotty Encino: no Geoffrey Swaine: be at Scotty Encino: it's Geoffrey Swaine: least Tommy Dunleavy: yeah. Scotty Encino: not Geoffrey Swaine: curved from Scotty Encino: not Geoffrey Swaine: one Scotty Encino: vegetable. Geoffrey Swaine: side, yeah. Um okay, we still have all all the options. Wood, do you think wood Tommy Dunleavy: N Geoffrey Swaine: will Tommy Dunleavy: wood Geoffrey Swaine: be a good Tommy Dunleavy: is Geoffrey Swaine: idea? Tommy Dunleavy: I can't n how do you uh I mean you can't keep it really small Geoffrey Swaine: Mm. Tommy Dunleavy: uh you can't make it like thin and Geoffrey Swaine: Right. Tommy Dunleavy: The Scotty Encino: Mm. Tommy Dunleavy: wood Charles Woods: I Tommy Dunleavy: thing. Charles Woods: can't Tommy Dunleavy: Because Charles Woods: imagine Tommy Dunleavy: you need to Charles Woods: a m Tommy Dunleavy: you Charles Woods: wooden Tommy Dunleavy: n you need Charles Woods: remote Tommy Dunleavy: to put all Charles Woods: control. Tommy Dunleavy: the technology in, so I mean if the case you add the case and Geoffrey Swaine: Yeah if Tommy Dunleavy: it Geoffrey Swaine: if Tommy Dunleavy: it Geoffrey Swaine: it is Tommy Dunleavy: becomes Geoffrey Swaine: really Tommy Dunleavy: a bit Geoffrey Swaine: thin Tommy Dunleavy: bulky wi mm-mm yeah. Geoffrey Swaine: if it Scotty Encino: Mm. Geoffrey Swaine: is really thin it it's likely to break, it's Tommy Dunleavy: Yeah, Geoffrey Swaine: it's much Tommy Dunleavy: yeah. Geoffrey Swaine: more Scotty Encino: Yeah, Tommy Dunleavy: Yeah. Geoffrey Swaine: uh Scotty Encino: and given that we're we're looking at more spongy material preferences, I ha would think maybe Tommy Dunleavy: U yeah Scotty Encino: rubber Tommy Dunleavy: wood is Scotty Encino: or Tommy Dunleavy: not Scotty Encino: plastic Tommy Dunleavy: really Scotty Encino: is more Geoffrey Swaine: Right. Tommy Dunleavy: yeah. Charles Woods: Well it's not very cleanable either, Scotty Encino: Yeah. Geoffrey Swaine: That's Charles Woods: do you Tommy Dunleavy: Yeah. Charles Woods: know. Geoffrey Swaine: true. Charles Woods: It's it's not a practical I mean it's it's alright for a table, but for a remote control, you know. Geoffrey Swaine: Yeah. Charles Woods: And splinters and stuff Geoffrey Swaine: Yeah, Charles Woods: and Scotty Encino: Yeah. Geoffrey Swaine: okay wood Charles Woods: It Geoffrey Swaine: is Charles Woods: just Geoffrey Swaine: out. Charles Woods: m doesn't make any sense, I think is Geoffrey Swaine: Right. Tommy Dunleavy: Yeah, Charles Woods: the thing Tommy Dunleavy: yeah, Charles Woods: with wood. Tommy Dunleavy: in the case of remote control not really. Scotty Encino: Yeah. Geoffrey Swaine: Okay, now for the really interesting stuff, the interface. Scotty Encino: Yeah. Geoffrey Swaine: 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 Charles Woods: You have Geoffrey Swaine: to Tommy Dunleavy: Yeah, Charles Woods: to Tommy Dunleavy: but Geoffrey Swaine: be Charles Woods: have some push-buttons, Tommy Dunleavy: you Charles Woods: don't Tommy Dunleavy: um I think Charles Woods: you? Tommy Dunleavy: for for the channel numb uh channel numbers you still need them, Scotty Encino: Mm-hmm. Tommy Dunleavy: wouldn't you? Charles Woods: G yeah, Geoffrey Swaine: Mm Charles Woods: yeah. Tommy Dunleavy: Yeah, Geoffrey Swaine: right. Tommy Dunleavy: so for Geoffrey Swaine: Oh, Tommy Dunleavy: channel Geoffrey Swaine: if Tommy Dunleavy: numbers Geoffrey Swaine: if Tommy Dunleavy: but Geoffrey Swaine: 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 Tommy Dunleavy: But I Geoffrey Swaine: almost Tommy Dunleavy: th Geoffrey Swaine: everything on Tommy Dunleavy: yeah Geoffrey Swaine: the L_C_D_ Tommy Dunleavy: but Geoffrey Swaine: display. Tommy Dunleavy: I think the L_C_D_ Scotty Encino: Just for Tommy Dunleavy: display Scotty Encino: fast Tommy Dunleavy: 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 Geoffrey Swaine: Right. Tommy Dunleavy: I mean Scotty Encino: Yeah. Tommy Dunleavy: y you can use it as a normal remote control, Geoffrey Swaine: Okay. Scotty Encino: Yeah. Tommy Dunleavy: but if you do want to use L_C_D_, then you flip it open, but it's it it's Charles Woods: Yeah. Tommy Dunleavy: more time-consuming. Scotty Encino: Yeah. Charles Woods: 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 Geoffrey Swaine: Mm right. Tommy Dunleavy: Yeah. Charles Woods: and everything Scotty Encino: And it Charles Woods: else Scotty Encino: yeah Charles Woods: menu-driven. Scotty Encino: L_ L_C_D_. Geoffrey Swaine: 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 Tommy Dunleavy: No, Geoffrey Swaine: to Tommy Dunleavy: no, Geoffrey Swaine: just to scroll? Tommy Dunleavy: I mean mm we we definitely need the the numbers, because Geoffrey Swaine: The numbers. Tommy Dunleavy: it's uh Charles Woods: Yeah. Tommy Dunleavy: otherwise people don't want to flip through all the channels. Charles Woods: Yeah. Scotty Encino: Do we Geoffrey Swaine: Right. Scotty Encino: need Tommy Dunleavy: Um Scotty Encino: them on as buttons or Geoffrey Swaine: Or Scotty Encino: do we need them as L_C_D_? Geoffrey Swaine: on the L_C_D_ we can, you Charles Woods: G yeah, Geoffrey Swaine: know Tommy Dunleavy: Yeah, I would say Charles Woods: I would think Tommy Dunleavy: buttons, Charles Woods: buttons, yeah. Tommy Dunleavy: because Scotty Encino: Buttons. Tommy Dunleavy: it's yeah. Charles Woods: It's Geoffrey Swaine: Okay. Charles Woods: it's the Tommy Dunleavy: I Charles Woods: I think Geoffrey Swaine: So Charles Woods: the thing is, so if Geoffrey Swaine: mm Charles Woods: someone just wants to turn on their T_V_ Scotty Encino: Mm. Charles Woods: and put on a channel, then Scotty Encino: Yeah. Charles Woods: it should be easier to Tommy Dunleavy: Yeah. Charles Woods: use than any other remote, and then if someone wants to, you know, change the contrast on their T_V_ and Geoffrey Swaine: Alright. Charles Woods: they should be able to do that and it should be accessible, but, Tommy Dunleavy: Mm-hmm. Charles Woods: 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_, Scotty Encino: Yeah. Geoffrey Swaine: Right. Charles Woods: I think is the the the issue there. Geoffrey Swaine: Okay, so buttons definitely in but oh shall we uh try to draw a prec um Scotty Encino: I think that's what you guys are gonna do next, Geoffrey Swaine: Uh okay. Scotty Encino: so if we put down the key Geoffrey Swaine: Okay, Scotty Encino: um Geoffrey Swaine: okay, Tommy Dunleavy: Yeah. Geoffrey Swaine: so the Scotty Encino: things Geoffrey Swaine: components. Right, Scotty Encino: that Geoffrey Swaine: so Scotty Encino: we want. Geoffrey Swaine: uh what about the the scrolling uh? Tommy Dunleavy: 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 Charles Woods: E Tommy Dunleavy: and spinning Charles Woods: either Tommy Dunleavy: thing, it's Charles Woods: or Tommy Dunleavy: uh you can al include everything in the spinning if you Scotty Encino: Just spinning Charles Woods: G Tommy Dunleavy: yeah, Charles Woods: yeah. Scotty Encino: and not scrolling, Tommy Dunleavy: yeah, Scotty Encino: I would say. Tommy Dunleavy: in Charles Woods: I Tommy Dunleavy: that Charles Woods: would Tommy Dunleavy: case. Charles Woods: say the s the s the spinning goes at a high speed to th to Scotty Encino: Yeah. Charles Woods: 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, Scotty Encino: Hmm. Charles Woods: then I'm not sure how well a scrolling wheel would work. Geoffrey Swaine: Mm um Scotty Encino: But if you've got a if Tommy Dunleavy: Ah, but I mean you can Scotty Encino: 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 Charles Woods: Yeah, Scotty Encino: it in Charles Woods: but Scotty Encino: half. Charles Woods: y your spinning wheel tends Scotty Encino: Th Charles Woods: to go to one side. Scotty Encino: that would be on one side, uh-huh. Geoffrey Swaine: I'm not sure it'll be a good idea to construct the whole thing out of rubber. Tommy Dunleavy: Yeah, I Geoffrey Swaine: Uh Tommy Dunleavy: um Scotty Encino: No, Tommy Dunleavy: I think Geoffrey Swaine: i it Tommy Dunleavy: so too, Scotty Encino: I Tommy Dunleavy: I Scotty Encino: think Tommy Dunleavy: mean Scotty Encino: it's Tommy Dunleavy: the Scotty Encino: just Tommy Dunleavy: case Scotty Encino: the casing Tommy Dunleavy: would be yeah Charles Woods: You want Scotty Encino: rubber Tommy Dunleavy: the case Charles Woods: an Scotty Encino: on Charles Woods: outside Tommy Dunleavy: would Scotty Encino: the Tommy Dunleavy: be Scotty Encino: outside. Tommy Dunleavy: rubber Charles Woods: of rubber Tommy Dunleavy: and the Charles Woods: and then Tommy Dunleavy: the buttons, Charles Woods: open it up Geoffrey Swaine: Or Charles Woods: and Geoffrey Swaine: or at Scotty Encino: Yeah. Geoffrey Swaine: the corners, Tommy Dunleavy: rubber buttons, Geoffrey Swaine: edges, Tommy Dunleavy: but then Geoffrey Swaine: just the edges covered by rubber or something Scotty Encino: Yeah. Geoffrey Swaine: like that. Everything else in plastic Tommy Dunleavy: Yeah. Geoffrey Swaine: or even titanium if we want to use it. Charles Woods: Or maybe like interchangeable cases. Geoffrey Swaine: Mm-hmm. Charles Woods: '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 Geoffrey Swaine: Right, Charles Woods: I can Scotty Encino: Mm. Charles Woods: change the colour, Geoffrey Swaine: right. Charles Woods: theoretically, to match my outfit. Geoffrey Swaine: Right, okay, so so that gives us a more trendy look as well. Um Charles Woods: Yeah, I think the spinning wheel is definitely very now. Geoffrey Swaine: Right. Scotty Encino: Mm-hmm. Geoffrey Swaine: Yeah, Tommy Dunleavy: Mm-hmm. Geoffrey Swaine: and uh we're going more for the trends than for the usability anyway, Scotty Encino: That's right, Charles Woods: Yeah. Scotty Encino: that's what Geoffrey Swaine: right? Scotty Encino: they're after. Geoffrey Swaine: So I'll rub that out. And uh colours can be provided with the case rather than Um Scotty Encino: Mm-hmm. Geoffrey Swaine: but we still need to te think about the colour of our remote as such, you know, just keep Tommy Dunleavy: Yeah Geoffrey Swaine: it black, Tommy Dunleavy: I think Geoffrey Swaine: or Tommy Dunleavy: 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 Scotty Encino: I guess. Charles Woods: That doesn't fit in Tommy Dunleavy: Yeah, does Charles Woods: with the whole vegetable theme though. Scotty Encino: Bananas. Tommy Dunleavy: Yeah. Banana's yellow, yeah, Charles Woods: Yeah, Tommy Dunleavy: definitely. Charles Woods: 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 Scotty Encino: Mm-hmm. Charles Woods: you could have like I mean I suppose vegetable colours would be orange and green Scotty Encino: Green. Charles Woods: and some reds and um maybe Scotty Encino: Yeah. Charles Woods: purple and that and then you'd pick the buttons in company colours to to match Geoffrey Swaine: Mm. Charles Woods: with it. Geoffrey Swaine: 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 Scotty Encino: yeah. Geoffrey Swaine: 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, Scotty Encino: Yeah. Geoffrey Swaine: but since L_C_D_s seems to be uh a definite yes, so Scotty Encino: Yeah. Geoffrey Swaine: it seems to be one area where we would want to spend. So I'll rub off the other Scotty Encino: Mm-hmm. Geoffrey Swaine: two. Charles Woods: So are we discounting solar energy because rubber's gonna be used in there somewhere or Scotty Encino: That was the Geoffrey Swaine: Oh is oh the constraint was uh Scotty Encino: We Charles Woods: If Scotty Encino: can't have Geoffrey Swaine: yeah. Charles Woods: solar panels Scotty Encino: solar Charles Woods: with Scotty Encino: panels Charles Woods: the rubber. Geoffrey Swaine: Yeah. Scotty Encino: with rubber, Geoffrey Swaine: So Scotty Encino: so. Charles Woods: Yeah, okay, so we lose that I think. Scotty Encino: Shall we go for if we're going for rubber, we think uh on as our case, Tommy Dunleavy: Mm-hmm. Scotty Encino: and then Tommy Dunleavy: And the buttons as well, I think. Scotty Encino: Yeah. Tommy Dunleavy: Yeah. Geoffrey Swaine: I think Scotty Encino: We've Geoffrey Swaine: uh Scotty Encino: got five more minutes. Geoffrey Swaine: we'll have uh uh using the simple battery will be a safer option as compared to the kinetic energy one, I Scotty Encino: Mm-hmm. Geoffrey Swaine: mean, a although it does seem uh interesting. Charles Woods: Yeah. Scotty Encino: Yeah. Geoffrey Swaine: But it does not hold any advantages as Scotty Encino: Yeah, Geoffrey Swaine: such Charles Woods: It's Geoffrey Swaine: for Charles Woods: just a Geoffrey Swaine: a Charles Woods: gimmick. Scotty Encino: mm-hmm. Geoffrey Swaine: yeah. Okay. Uh okay, so r we understand this better now that uh the the speaker is for the feedback, right? Scotty Encino: Mm-hmm. Geoffrey Swaine: It it says uh the things that you type in or something like that, Scotty Encino: Yeah. Geoffrey Swaine: so Scotty Encino: I think if we can if we can include them at not too much extra Geoffrey Swaine: Ye Scotty Encino: cost, Geoffrey Swaine: yeah, Scotty Encino: then I'd put them in, Geoffrey Swaine: we Scotty Encino: but if Geoffrey Swaine: we Scotty Encino: it's Geoffrey Swaine: don't have too much information about it, Scotty Encino: Yeah. Geoffrey Swaine: um Tommy Dunleavy: Yeah, but it it I think it should be quite cheap because it's from our own Scotty Encino: It's Tommy Dunleavy: company, Scotty Encino: from the company, Tommy Dunleavy: yeah. Geoffrey Swaine: Yeah, okay, Scotty Encino: so Geoffrey Swaine: so so th this is in as well then, the Scotty Encino: Yeah. Geoffrey Swaine: sample speaker. Scotty Encino: Okay. Geoffrey Swaine: Right. Scotty Encino: And the case is curved on one side, but then Geoffrey Swaine: Flat Scotty Encino: flat Geoffrey Swaine: on the top. Scotty Encino: flat, so it's flipped into Tommy Dunleavy: Mm-hmm. Geoffrey Swaine: Yeah. Scotty Encino: each other. Geoffrey Swaine: Okay. Scotty Encino: Can I pull the Charles Woods: Yeah, Scotty Encino: thing Charles Woods: sure Scotty Encino: out the back of your Charles Woods: j Scotty Encino: computer? Just so we can Charles Woods: Sorry, do you want Charles Woods to Scotty Encino: Nothing, it's right, I'm just There we go. Charles Woods: What does um I_C_S_ mean? Geoffrey Swaine: I_C_s? Uh integrated circuits. Charles Woods: Okay, cool. So it's advanced integrated circuits? Geoffrey Swaine: Yeah. Scotty Encino: Uh oh now I've gone too far. Geoffrey Swaine: Uh um we we're definitely going in for voice recognition as well as Tommy Dunleavy: Yeah. Geoffrey Swaine: L_C_D_s, Scotty Encino: Yeah. Geoffrey Swaine: mm. Scotty Encino: We're on our way. Scotty Encino: Okay. So we've basically worked out that we're going with a simple battery, the advanced chip Geoffrey Swaine: Right. Scotty Encino: and a curved on one side case which is folded in on itself, Geoffrey Swaine: Yep. Scotty Encino: 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, Tommy Dunleavy: Um Scotty Encino: and it's gonna look sort of vegetable, and be in bright vegetable colours. Tommy Dunleavy: Uh-huh. So w w would with have the spinning wheel inside with the L_C_D_, or would it be on the outer Scotty Encino: I think Charles Woods: Imagine Scotty Encino: it's on Charles Woods: it would Scotty Encino: the Charles Woods: be inside. Tommy Dunleavy: Okay. Charles Woods: So um actually that could Geoffrey Swaine: Mm. Charles Woods: like really cut down your thing, so you've got your outside, which is like minimalist, Tommy Dunleavy: Mm-hmm. Charles Woods: and then you open it up and Tommy Dunleavy: Yeah, Charles Woods: you've got Tommy Dunleavy: okay. Charles Woods: a screen and a spinning wheel, which you can incorporate buttons into. Tommy Dunleavy: Mm-hmm. Scotty Encino: Mm-mm. Charles Woods: Um so you've Scotty Encino: Yeah. Charles Woods: still not got like a lot of stuff in the Scotty Encino: On the Charles Woods: You've maybe got, you know like if you're modelling on iPod you've got five buttons and Scotty Encino: Mm-hmm. Charles Woods: a wheel, and four of the buttons are in the wheel, and the other one's the little bit inside the Scotty Encino: In Charles Woods: wheel, Scotty Encino: the centre, yeah, Charles Woods: yeah. Tommy Dunleavy: Mm yeah. Scotty Encino: sure. Okay, so now we've got thirty minutes before our next meeting. In the meantime, Geoffrey Swaine over here is gonna work on the look and feel design, Geoffrey Swaine: Mm-hmm. Scotty Encino: which I'll presume he'll work out what that means. Um Tommy Dunleavy will work on the user interface design and Charles Woods 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 Tommy Dunleavy: Mm-hmm. Scotty Encino: instructions from your Geoffrey Swaine: Cool. Scotty Encino: personal coach. Is that all okay? And anyone Tommy Dunleavy: Yeah. Scotty Encino: who hasn't put their their presentation in the project documents Geoffrey Swaine: Yeah, Scotty Encino: folder, Geoffrey Swaine: okay. Scotty Encino: it would be good just so in case Tommy Dunleavy: Mm-hmm. Scotty Encino: we have to refer to it. Charles Woods: Cool, I'm gonna go and sit on my own. Scotty Encino: Y ah nobody wants to talk to you. Charles Woods: I know, Scotty Encino: Unplug yourself. Charles Woods: I'm hated. Tommy Dunleavy: Hmm. Charles Woods: I've got a bit tangled up in all this. Tommy Dunleavy: So but shall I move away first or shall I stay here with Scotty Encino: I dunno, maybe Tommy Dunleavy: we need to Scotty Encino: I would car

Scotty Encino opens the meeting by stating the agenda. Geoffrey Swaine 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. Charles Woods 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, Scotty Encino closes the meeting by telling them what their tasks will be until the next meeting.

amisum

train

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

Daniel Oliver 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. Brian Ellefson 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 Daniel Oliver tells them what is left to complete.

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Henry Cumpston: Mm-hmm? Henry Cumpston: Okay. Henry Cumpston: Ooh. William Fields: So we're 'kay? On the or No. I dunno where to put it 'cause the Okay. Could you s take it off? Matthew Reichert: Is that alright? or Okay. William Fields: Okay. Matthew Reichert: Keeps coming off. 'S fiddly. Henry Cumpston: Hmm. Matthew Reichert: Right. Henry Cumpston: How we sta wa how do we start Does anybody know? Matthew Reichert: Oh, another one. Henry Cumpston: So that's this Oh okay, right. William Fields: Are we free to take notes uh Okay. Henry Cumpston: Uh. Henry Cumpston: Hmm. Okay, just hang on a second everybody. I haven't actually looked at this yet. Matthew Reichert: Ah. Henry Cumpston: um Matthew Reichert: Very nice. Henry Cumpston: I haven't looked at it, but let's just start it off and we'll see what happens. If you're all ready. Jarrod Harden: Yeah. Henry Cumpston: 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. Matthew Reichert: 'Kay. Henry Cumpston: 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. Matthew Reichert: Okay. Henry Cumpston: Um. Uh Miss Industrial Designer, would you like to William Fields: Okay. Henry Cumpston: go first? William Fields: So are we supposed to bring the little things for the Henry Cumpston: Yeah, why don't you just c, I think just clip on clip do you have a belt? Matthew Reichert: Clip. William Fields: Mm. Henry Cumpston: Or put 'em in your pocket, William Fields: Yeah. Henry Cumpston: yeah. William Fields: okay. So my favourite animal Henry Cumpston: Yeah, what's your favourite animal? William Fields: 'Kay um Matthew Reichert: Ah. Henry Cumpston: Is it rude? Matthew Reichert: It's an elephant. Henry Cumpston: That's a very good elephant. Jarrod Harden: The back end of an elephant. Matthew Reichert: Oh my gosh, I'm never gonna be able to draw that well. Henry Cumpston: '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. William Fields: Um okay, it's big, it's got a great memory. Matthew Reichert: Does it? Oh. William Fields: Supposed to have a great memory, Henry Cumpston: Mm. Matthew Reichert: Mm. William Fields: And uh dunno know why but looks like nice to Matthew Reichert. Henry Cumpston: Okay. William Fields: Nice animal. Henry Cumpston: Wonderful, well done. Do you want to use the wipe the m the William Fields: Okay. Henry Cumpston: wiper and wipe it off? And Mister aesthetics designer do you wanna Jarrod Harden: Aesthetic Henry Cumpston: go next? Jarrod Harden: yep, Matthew Reichert: I have no Jarrod Harden: sure. Matthew Reichert: idea what my favourite animal is. Jarrod Harden: 'Kay, my favourite animal, uh let's see. Matthew Reichert: Oh. It's Jarrod Harden: Dunno if any of you have seen Napoleon Dynamite before. It's a liger, Henry Cumpston: No. Matthew Reichert: A what? Jarrod Harden: a combination of a lion and tiger. Matthew Reichert: Alright. Jarrod Harden: Have Matthew Reichert: How. Jarrod Harden: you not seen Napoleon Dynamite? Henry Cumpston: No. William Fields: No. Matthew Reichert: No. Jarrod Harden: 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. Henry Cumpston: Okay, well done. Matthew Reichert: Great. Matthew Reichert? Henry Cumpston: Yeah. Miss mar Miss Marketing? Matthew Reichert: Okay. quite sure how this is gonna work. Cool. Uh well I'll try my best to draw. Matthew Reichert: Can I just draw the face? Henry Cumpston: 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. Matthew Reichert: Ooh. It's a cat. Henry Cumpston: That's a very pr pretty cat. Matthew Reichert: Which also has what? A big fat body and big and a long tail. Henry Cumpston: Okay, do y do you wanna do some write you wanna just write some words about it? Matthew Reichert: 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 Henry Cumpston: Wow, Matthew Reichert: got problems so Henry Cumpston: so they're kinda spiritual. Matthew Reichert: So, that's why I like cats. Henry Cumpston: Well done. Matthew Reichert: There we are, that's Matthew Reichert. Henry Cumpston: Okay. Matthew Reichert: Mm. Henry Cumpston: Um, I don't actually have a favourite animal, but for the for th for this meeting I'll s draw a little Matthew Reichert: Mm-hmm. Henry Cumpston: Uh. I honestly can't draw for toffee. Uh. William Fields: Really? Oh Henry Cumpston: Yeah. William Fields: that's a Henry Cumpston: no Jarrod Harden: A prairie dog? Henry Cumpston: no uh Jarrod Harden: Oh a squirrel? Henry Cumpston: That's exactly what it is. Uh not a very good one William Fields: Not bad I would say. Jarrod Harden: Yeah, that's pretty good. Henry Cumpston: Okay, well, you got it's a s It's a squirrel, and I like them, because they're cute and stupid. William Fields: Very good. Matthew Reichert: Ah. Jarrod Harden: Alright. Henry Cumpston: 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. Matthew Reichert: Market range internationally sold. Henry Cumpston: Yeah. Production cost, ah right it's gotta be Matthew Reichert: Ah right Henry Cumpston: can't Matthew Reichert: okay. Henry Cumpston: 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. Jarrod Harden: 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 Henry Cumpston: Yeah. Matthew Reichert: Yeah. Jarrod Harden: S Yeah, I think we're I mean before we close the meeting, we're supposed to come up with some ideas for Henry Cumpston: Oh k so we're actually supposed to be doing this discussion like right now are we Matthew Reichert: Yeah. Henry Cumpston: or Jarrod Harden: Yeah. William Fields: Mm. Henry Cumpston: oh okay. Jarrod Harden: Yeah. Henry Cumpston: I thought this was just t giving us instructions for the re to do next, Jarrod Harden: Yeah, Henry Cumpston: but Jarrod Harden: 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. Henry Cumpston: Okay. Right, who's got experiences with remote controls then? Pretty much everybody. William Fields: Yeah. Jarrod Harden: Yeah, I think we've all got Matthew Reichert: Uh. Henry Cumpston: Um. William Fields: Is this a T_V_ one we are supposed to make? Matthew Reichert: Yeah. Yeah it's a T_V_ remote control. William Fields: Okay. Henry Cumpston: 'Kay Matthew Reichert: Well. Henry Cumpston: um. William Fields: T Matthew Reichert: A new remote control for T_V_. What would I like? Henry Cumpston: W what Matthew Reichert: Um. Henry Cumpston: You want it big do you want it small. Matthew Reichert: Medium. Henry Cumpston: Are we are we going for like like telephones are going little teeny tiny things or we are going for something that's Jarrod Harden: Mm. Henry Cumpston: that's big and Jarrod Harden: 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 Henry Cumpston: Video Jarrod Harden: something like that, Henry Cumpston: and ts hi-fi Jarrod Harden: but like at Henry Cumpston: and Jarrod Harden: the Henry Cumpston: stuff. Jarrod Harden: same time you don't wanna really busy remote with a thousand buttons on it or something. Henry Cumpston: Maybe you Jarrod Harden: Mm. Henry Cumpston: yeah now th that's the other thing is it's gotta be cheap. Jarrod Harden: Yeah. Henry Cumpston: '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, Matthew Reichert: Mm. Henry Cumpston: but that would p that would probably be quite expensive. William Fields: But how do we know how much uh, I mean, how much do we have per how Matthew Reichert: Twelve William Fields: much? Matthew Reichert: fifty. William Fields: Twelve Jarrod Harden: It William Fields: fifty. Jarrod Harden: g can't be more Matthew Reichert: Each. Jarrod Harden: than twelve fifty per unit. Henry Cumpston: Per unit, yeah. Jarrod Harden: Cost. William Fields: So do we have to be realistic within the budget or Henry Cumpston: Well William Fields: Close Henry Cumpston: at the Matthew Reichert: Guess Henry Cumpston: moment William Fields: pr I don't Henry Cumpston: we could, William Fields: know Henry Cumpston: wa William Fields: how Henry Cumpston: I William Fields: much Henry Cumpston: mean we William Fields: it Henry Cumpston: 'cause William Fields: would Henry Cumpston: we William Fields: cost. Henry Cumpston: this William Fields: Yeah. Henry Cumpston: 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 William Fields: Right. Henry Cumpston: or not. So would be nice to have something that that controls lots of different things. Jarrod Harden: Yeah. Henry Cumpston: Um. Matthew Reichert: Couldn't we have like one that comes out? Like so you have one in like William Fields: Yeah. Matthew Reichert: 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. Henry Cumpston: 'Kay. Matthew Reichert: have slides. And then it all comes compact Henry Cumpston: Okay, that's. Matthew Reichert: 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. Henry Cumpston: Th that's an idea. Jarrod Harden: Yeah. Matthew Reichert: So you just flip them out. Henry Cumpston: Okay. William Fields: 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. Henry Cumpston: One side for kids, one side for adults. William Fields: Yeah. Jarrod Harden: I'm not sure William Fields: Or grandma Jarrod Harden: if that's like William Fields: as well, you know it's like what is Jarrod Harden: I'm William Fields: the Jarrod Harden: not William Fields: mute Jarrod Harden: sure if William Fields: button. Jarrod Harden: 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 William Fields: No, but you Jarrod Harden: mani William Fields: would slide Jarrod Harden: manipulate William Fields: it Jarrod Harden: it. William Fields: into uh someth like something on the back would hold like you wouldn't Jarrod Harden: Oh. William Fields: be able to press the buttons, Jarrod Harden: Oh okay. Henry Cumpston: Like William Fields: but Henry Cumpston: it or Jarrod Harden: Yeah. Henry Cumpston: something like a flip telephone, something like that maybe. Jarrod Harden: Okay. Matthew Reichert: That would be cool. I was thinking Henry Cumpston: F flip Matthew Reichert: that Henry Cumpston: it open Matthew Reichert: like a Henry Cumpston: and you've Matthew Reichert: flip. Henry Cumpston: got all the buttons, or you flip it closed and you've just got the basic buttons on the outside maybe. Jarrod Harden: Mm-hmm. Henry Cumpston: Um, oh we've got five minutes left. William Fields: Start breaking up. Matthew Reichert: Okay. Henry Cumpston: But okay. Matthew Reichert: Um. Henry Cumpston: Well we've got a k we've got a few ideas there. Jarrod Harden: 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, Henry Cumpston: Yeah. Jarrod Harden: be able to operate D_V_D_ players, things like that. Henry Cumpston: 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. Jarrod Harden: Yeah. William Fields: Yeah. Jarrod Harden: Okay. Right. Henry Cumpston: What do you reckon? Jarrod Harden: Yeah, I mean. Henry Cumpston: See 'cause, I'm just thinking bearing in mind th we've gotta we have to have something that's cheap to make. Jarrod Harden: Yeah, that's true, maybe we should just concentrate on having a a good T_V_ remote, and have it be um Henry Cumpston: I think we'll be able to come up with ideas and stuff a lot quicker. Jarrod Harden: have it be like ergonomic Henry Cumpston: Yeah. Jarrod Harden: so it's comfortable to use, uh simple to use, and looks decent Henry Cumpston: May Jarrod Harden: and Henry Cumpston: w you Matthew Reichert: But what'll Henry Cumpston: know, maybe Matthew Reichert: make Henry Cumpston: even Matthew Reichert: it what'll make it interesting for people to buy though? Henry Cumpston: Or Matthew Reichert: I mean Henry Cumpston: maybe Matthew Reichert: if it's Henry Cumpston: even Matthew Reichert: if Henry Cumpston: so Matthew Reichert: it's Henry Cumpston: something Matthew Reichert: just like Henry Cumpston: that's for disabled people or so people that uh b don't see very well or big buttons for touchy buttons for Jarrod Harden: Sorta find a niche for our remote, like market it to a certain Henry Cumpston: Yeah. Jarrod Harden: kind William Fields: Yeah. Jarrod Harden: of p kind of people, certain Henry Cumpston: Or just Jarrod Harden: certain demographic Henry Cumpston: one that looks really fucking cool. Matthew Reichert: Mm-hmm. Jarrod Harden: Yeah, no William Fields: Could Jarrod Harden: I think William Fields: be Jarrod Harden: you're William Fields: really Jarrod Harden: right. William Fields: light or, I dunno, something special. Jarrod Harden: Yeah, rathe rather than focus on Henry Cumpston: Otherwise Jarrod Harden: Y Henry Cumpston: we'll be we'll be here all day talking about do this let's do Jarrod Harden: Yeah. Henry Cumpston: that n I think we sh I think William Fields: Yeah, Henry Cumpston: we William Fields: 'cause Henry Cumpston: should William Fields: at the end of the day if it says just T_V_ remote, doesn't say com combination Jarrod Harden: Yeah. Henry Cumpston: Yeah. William Fields: with all all the r Henry Cumpston: 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 Jarrod Harden: Remotes spinning out from other remotes and Henry Cumpston: Yeah. Matthew Reichert: Mm. Jarrod Harden: having little nested remotes inside. Henry Cumpston: Yeah, that's right. Yeah. I mean I'd like one that makes tea as well, but that's not gonna happen. Matthew Reichert: 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 Henry Cumpston: Okay, like Matthew Reichert: record Henry Cumpston: a lock Matthew Reichert: button Henry Cumpston: f like Matthew Reichert: for something. Henry Cumpston: a lock functs function on it like you have on your telephones, Matthew Reichert: Yeah. Henry Cumpston: yeah. Matthew Reichert: But make it like really snazzy and cool people will want it. So make it Yeah. Henry Cumpston: Yeah, it's gotta be sellable. Matthew Reichert: Yeah. Henry Cumpston: Yeah. Jarrod Harden: 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 Matthew Reichert: Mm. Jarrod Harden: that it's Henry Cumpston: Yeah. William Fields: Mm. Jarrod Harden: not uh not usable when you don't want it to be usable. Matthew Reichert: Yeah. Henry Cumpston: Okay. Matthew Reichert: 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. Henry Cumpston: No porn channel for children. William Fields: Okay. Henry Cumpston: Okay. Um alright, so we've got some ideas, we've got um Jarrod Harden: I guess that's Henry Cumpston: Let's move on. Jarrod Harden: good good for now. Matthew Reichert: Mm. Henry Cumpston: Oops, let's close that. Next meeting, uh Matthew Reichert: W Henry Cumpston: okay. Matthew Reichert: What does I_D_V_I_D_N_M_E_ stand for? Henry Cumpston: Industrial Designer Matthew Reichert: Ah Henry Cumpston: um Matthew Reichert: ri okay. Henry Cumpston: which is Matthew Reichert: these are requirement specification. William Fields: That's Henry Cumpston: Um. Matthew Reichert: And I'm marketing. William Fields: Mm. Henry Cumpston: Yeah, there you go. So User Interface Designer, that's Jarrod Harden: That's Matthew Reichert. Henry Cumpston: that's Jarrod Harden: Okay. Henry Cumpston: that's you, so you gotta you go, you're you're gonna be the one that's working out what what buttons Jarrod Harden: Right. Henry Cumpston: we need. Jarrod Harden: Right. Henry Cumpston: 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. William Fields: Mm. Har how it works an Henry Cumpston: And in marketing Matthew Reichert: These William Fields: Bu Matthew Reichert: are requirement specification. Henry Cumpston: User requirements specifications. Matthew Reichert: So what the user requires Henry Cumpston: Yeah, William Fields: Do you think Matthew Reichert: in Henry Cumpston: what Matthew Reichert: a remote. William Fields: our two kind of overlap, Henry Cumpston: Right, okay, yeah. William Fields: because Jarrod Harden: Yeah, it does Matthew Reichert: I Jarrod Harden: seem Matthew Reichert: guess Jarrod Harden: like our Matthew Reichert: that's Henry Cumpston: You Jarrod Harden: our Henry Cumpston: two Matthew Reichert: what Jarrod Harden: responsibilities Matthew Reichert: it says. Jarrod Harden: have Henry Cumpston: you two are gonna Jarrod Harden: some Henry Cumpston: be Jarrod Harden: overlap. Henry Cumpston: just, I think, you just double up, you know, William Fields: Yeah. Henry Cumpston: you working Jarrod Harden: Yeah. Henry Cumpston: 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 Matthew Reichert: Mm. Henry Cumpston: stuff like that. Oh, we've been warned to finish the meeting now. Okay. Okay everyone, well done. Good meeting. Jarrod Harden: Alright, see you in thirty minutes. Henry Cumpston: Yeah. Matthew Reichert: So, do we take these off? William Fields: I don't

Henry Cumpston 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. Henry Cumpston discussed the project finances and the team engaged in a brainstorming session about various features to consider in designing a remote. Henry Cumpston then further discussed the roles of the team members.

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Mario Perry: Oh right okay. I cover myself up. Jesse Evans: I feel like Madonna with one of these on I. said I feel like Madonna with one of these on. Mario Perry: I've always wanted one of these, I really have. Where do you buy 'em from? They're. Jesse Evans: Right. Hello everybody. Clarence Hemphill: Hello. Jesse Evans: Back again for another wonderful meeting. Is uh everyone ready? Clarence Hemphill: Yeah. Mario Perry: Yeah. William Lanosga: Almost. Jesse Evans: Okay, we c we can hold on for a minute. Mario Perry: Oh my gosh. Jesse Evans: I figured with the spam thing, if you can't beat it, join in. Clarence Hemphill: That's the kind of spam that everybody likes to receive. William Lanosga: Mm 'kay. Jesse Evans: Are you ready? Jesse Evans: 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 Mario Perry: Mm-hmm. Jesse Evans: 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 Clarence Hemphill: Hmm. Jesse Evans: they be on computer or on the whiteboard or whatever you want. Clarence Hemphill: Do you have any preference uh of order? Jesse Evans: 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 Mario Perry: Batteries. Jesse Evans: sort of energy we're gonna be using and Clarence Hemphill: I think she is still finishing her. William Lanosga: No no no no, it's fine I'm just preparing. Jesse Evans: It's just that yeah, let's let's hear from you first. Clarence Hemphill: Hmm. William Lanosga: Okay. Where is that Clarence Hemphill: Okay, William Lanosga: thing? Clarence Hemphill: it's uh Mario Perry: It's here. William Lanosga: Oh sorry, couldn't see. Would that work? Jesse Evans: Get yourself in position. Mario Perry: Ah. William Lanosga: Okay, so that's Mario Perry 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 Jesse Evans: I don't William Lanosga: be v Jesse Evans: think any of us remember William Lanosga: wouldn't Jesse Evans: the fifties. William Lanosga: be v Clarence Hemphill: Is it like William Lanosga: v Clarence Hemphill: a crank William Lanosga: yeah, Clarence Hemphill: thing William Lanosga: yeah. Clarence Hemphill: or something. William Lanosga: 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 Mario Perry: Mm. William Lanosga: it the energy to work. Or you can use solar cells, but I'm not sure about that indoors, really, but Clarence Hemphill: Well, there's sometimes combinations, I mean, like calculators William Lanosga: Yeah. Clarence Hemphill: do combinations of battery with but also using some solar power. Jesse Evans: Do Mario Perry: Mm. Jesse Evans: sol solar panel things, do they have to work from the sun or can they work from a light bulb? William Lanosga: I dunno Jesse Evans: Does anybody William Lanosga: actually. Jesse Evans: know? Clarence Hemphill: Uh I think, it has to be on the on the solar energy, but I know. William Lanosga: I dunno. Um. Think the the uh Jesse Evans: Okay. William Lanosga: what would cost the less would be the basic battery, really. Mario Perry: Mm. William Lanosga: 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. Jesse Evans: Mm. Okay, jolly good. William Lanosga: 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 Jesse Evans: What's a double curved one? William Lanosga: You know, kind of more ergonomic, that kind of suits the palm of your hand, that kind of thing. So Jesse Evans: Okay. William Lanosga: 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 Jesse Evans: So that might be an idea of using William Lanosga: Yeah. Jesse Evans: the rubber, but then it should, you know Clarence Hemphill: Let's have a squeezable remote. Jesse Evans: yeah. William Lanosga: Yeah. And also it doesn't break as easily maybe, I dunno Jesse Evans: 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 Mario Perry: Yeah. Jesse Evans: at you. Yeah, I like that idea. Mario Perry: Mm. William Lanosga: So rubber would be Okay. Mario Perry: I think rubber's Jesse Evans: Rubber, we're all we're all going we're all liking that idea? You think you can market Mario Perry: But after Jesse Evans: that? Mario Perry: my after my fashion thing, I think you'll realise that rubber is more William Lanosga: Uh Jesse Evans: Ooh, we William Lanosga: s Jesse Evans: like rubber, ooh. Mario Perry: People. William Lanosga: 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. Jesse Evans: Uh-huh. William Lanosga: 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 Jesse Evans: Well, William Lanosga: a constraint. Jesse Evans: we're gonna go with I think we've decided that it's gonna be a rubber case William Lanosga: Yeah, but Jesse Evans: so William Lanosga: 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. Jesse Evans: push buttons instead of the wheel? William Lanosga: Yeah. Clarence Hemphill: 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 William Lanosga: No, but Jesse Evans: rubble Clarence Hemphill: case? Jesse Evans: double double. William Lanosga: na le you see, you've got, okay, the energy that's Jesse Evans: I'll have William Lanosga: one Jesse Evans: a Big William Lanosga: thing, Jesse Evans: Mac, please. William Lanosga: 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. Clarence Hemphill: Okay. William Lanosga: So, either I dunno we just need to decide on the Jesse Evans: Let's have William Lanosga: on Jesse Evans: rubber William Lanosga: the case. Jesse Evans: push buttons, hey. Clarence Hemphill: Okay. Go rubber. Go William Lanosga: Let's Clarence Hemphill: rubber William Lanosga: go crazy. Clarence Hemphill: the whole way. William Lanosga: 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. Jesse Evans: Yeah. William Lanosga: 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. Jesse Evans: Simple, yeah. Chip on print. It's a bit. Jesse Evans: Okay, uh what I'm not understanding here William Lanosga: Mm. Jesse Evans: 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 William Lanosga: Yeah. Jesse Evans: including the um William Lanosga: The infra-red. Jesse Evans: infra-red sender? William Lanosga: Yeah. Jesse Evans: Right. Um what a what alternatives do we have to that? Y um what alternatives do we have to the chip William Lanosga: Well, Jesse Evans: on William Lanosga: if Jesse Evans: print? William Lanosga: 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 Jesse Evans: so it sounds William Lanosga: Technically speaking, it's not as advanced, but it does the job, too. Jesse Evans: So, why would we not go for that? If it's something William Lanosga: Fo Jesse Evans: that's inside the the unit. William Lanosga: It doesn't, Jesse Evans: I it William Lanosga: yeah, yeah, yeah. Jesse Evans: doesn't affects whether the customer's William Lanosga: Totally. Jesse Evans: gonna buy it or not. William Lanosga: Yeah. Jesse Evans: Um William Lanosga: So let's not Jesse Evans: we William Lanosga: go Jesse Evans: wanna William Lanosga: for Jesse Evans: go William Lanosga: the Jesse Evans: for an i i all so long as it works, William Lanosga: Yeah, yeah. Jesse Evans: you William Lanosga: I Jesse Evans: know. William Lanosga: agree. Jesse Evans: So let's not let's uh not bother with the chip on print. William Lanosga: So it's either um the scroll-wheel or the push-buttons. Jesse Evans: Yeah. S yeah, push buttons. Mario Perry: What about the just Clarence Hemphill: I Mario Perry: developed Clarence Hemphill: think push-buttons Mario Perry: uh sample Clarence Hemphill: is Mario Perry: sensor? Jesse Evans: What about what? Mario Perry: G there, the sample sensor, sample William Lanosga: Well Mario Perry: speaker thing. Jesse Evans: Well, what do we need a speaker for in a remote control unit? Mario Perry: Mm, I dunno. Be cool. William Lanosga: It'd Mario Perry: Channel William Lanosga: be it'd Clarence Hemphill: Yeah. William Lanosga: be cool, Mario Perry: two. William Lanosga: but they are saying they've just developed it, I'm just guessing. But it's gonna Jesse Evans: S William Lanosga: be the most expensive option, probably and Clarence Hemphill: Th the the speech recognition um option is it doesn't seem really very promising for us Jesse Evans: Yeah. Clarence Hemphill: uh, 'cause Jesse Evans: It's not Clarence Hemphill: uh Jesse Evans: something that we wanna t go into with this Clarence Hemphill: The Jesse Evans: product. Clarence Hemphill: 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. Jesse Evans: Yeah. Clarence Hemphill: But, I mean, it's not it would William Lanosga: Hm. Clarence Hemphill: 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 Mario Perry: Oh, Clarence Hemphill: you Mario Perry: it Clarence Hemphill: a Mario Perry: just gives an answer. Clarence Hemphill: it just gives you a verbal response. So, yeah, I mean, Mario Perry: Oh, then then Clarence Hemphill: like what's the point of saying, Jesse Evans: Yeah. Clarence Hemphill: Hello remote, I mean, hello, Jesse Evans: Yeah. Clarence Hemphill: how how are Mario Perry: I Clarence Hemphill: you? Mario Perry: thought I thought it was when William Lanosga: Just Mario Perry: they William Lanosga: if Mario Perry: said William Lanosga: you are really lonely, Clarence Hemphill: Yeah, William Lanosga: maybe. Clarence Hemphill: if you're really lonely, it Mario Perry: I thought Clarence Hemphill: is it's Mario Perry: when they said, voice recognition, they meant um like, channel five, and it Clarence Hemphill: No, Mario Perry: will change. Clarence Hemphill: tha that Mario Perry: Like Clarence Hemphill: w Mario Perry: you Clarence Hemphill: that Mario Perry: talk Clarence Hemphill: w Mario Perry: to it. Clarence Hemphill: that would be Mario Perry: Can Clarence Hemphill: more Mario Perry: I Clarence Hemphill: promising. Mario Perry: have channel five? Jesse Evans: Yeah. Clarence Hemphill: It it's just a remote that talks to you. Uh. Mario Perry: Oh, Jesse Evans: Yeah. Mario Perry: then forget Jesse Evans: Yeah. Mario Perry: about it. Oh right okay. Clarence Hemphill: I mean to certain cues. Jesse Evans: Yeah. William Lanosga: Okay, so I'll go back, maybe, to the previous slide and we can decide for each problem, what we should choose. So Clarence Hemphill: 'Kay. William Lanosga: for the energy source, do we go for the battery or the Clarence Hemphill: Yeah, I'm fine with the basic battery. Jesse Evans: Basic Mario Perry: Mm. Jesse Evans: battery. It's cheap, it's cheerful, it's worked, does work. Clarence Hemphill: Hmm. William Lanosga: Cheaper option. Are Mario Perry: Mm. William Lanosga: you happy with that? Mario Perry: Yeah. William Lanosga: Okay. So we'll go for the battery. Then the case, do you want it flat or curved or sing or Jesse Evans: We William Lanosga: double Jesse Evans: were go William Lanosga: curved? Jesse Evans: we were going with the late with the the R_S_I_ rubber, weren't Clarence Hemphill: Yeah, Jesse Evans: we? Clarence Hemphill: so we want it rub rubber double curved. Jesse Evans: The the Mario Perry: So it will look like William Lanosga: Double? Mario Perry: something like Jesse Evans: The double Mario Perry: this. Jesse Evans: whopper, please. William Lanosga: Okay, so then if we use double Jesse Evans: Yep, William Lanosga: curved Jesse Evans: but William Lanosga: case, then we have Jesse Evans: we're going William Lanosga: to Jesse Evans: for William Lanosga: u Jesse Evans: the simple William Lanosga: choose Jesse Evans: buttons. Clarence Hemphill: So rubber William Lanosga: rubber push-buttons, Clarence Hemphill: rubber keys, Jesse Evans: Yeah. William Lanosga: and that's Clarence Hemphill: yeah. William Lanosga: fine? Jesse Evans: And it's cheapest all round, it sounds kinda funky, and William Lanosga: P Jesse Evans: we can also Clarence Hemphill: Yeah. Jesse Evans: 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_. Mario Perry: Yeah. William Lanosga: Yeah. Jesse Evans: So that's another marketing point that we can use. Mario Perry: Well the rubber push-buttons. Don't you have to move Jesse Evans: But Mario Perry: your Jesse Evans: anything is gonna have buttons. Mario Perry: Mm. Jesse Evans: Even if it's a jog wheel, it's still repetitive. William Lanosga: I thought they Jesse Evans: You William Lanosga: would give an option of flat buttons or a Jesse Evans: You see, you can William Lanosga: That Jesse Evans: still William Lanosga: they don't. Jesse Evans: 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 William Lanosga: Mm. Jesse Evans: 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 Mario Perry: Mm. Yeah, the Clarence Hemphill: Yeah. Mario Perry: rubber's good. Clarence Hemphill: We're giving them a way to burn off steam, basically, yeah. Jesse Evans: Yeah. Mario Perry: Yeah, so they can sit there and go like Clarence Hemphill: Not that watching T_V_ should be that stressful. Jesse Evans: And you know, yeah, you can fuzz it across the room and throw Clarence Hemphill: Oh Jesse Evans: it Clarence Hemphill: yeah, Jesse Evans: at throw Clarence Hemphill: I guess Jesse Evans: it Clarence Hemphill: T_V_ Jesse Evans: at your Clarence Hemphill: can Jesse Evans: children Clarence Hemphill: be stressful, yeah, if you're watching sports. Jesse Evans: yeah. William Lanosga: Alright, that's Mario Perry done. Clarence Hemphill: Alright. Alright. Jesse Evans: about the um it's the interface. Clarence Hemphill: Yeah, some of what I have to say ties into what Catherine was just talking about. Jesse Evans: Great. William Lanosga: Sorry. Clarence Hemphill: 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. Jesse Evans: Mm. Clarence Hemphill: 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. Jesse Evans: Mm. Clarence Hemphill: 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 Mario Perry: Mm. Clarence Hemphill: side of Jesse Evans: Mm. Clarence Hemphill: 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 Jesse Evans: Yeah. Clarence Hemphill: that you're constantly Mario Perry: Mm. Clarence Hemphill: doing. Mario Perry: That does get Clarence Hemphill: Um Mario Perry: annoying. Clarence Hemphill: 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 Jesse Evans: Mm-hmm. Clarence Hemphill: 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 Jesse Evans: Yeah. Clarence Hemphill: 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, Jesse Evans: Yeah. Clarence Hemphill: of them, so Jesse Evans: Yeah. Clarence Hemphill: uh it's sort of confusing for the user. Uh Jesse Evans: Do we have an uh example Clarence Hemphill: this is Jesse Evans: of Clarence Hemphill: the Jesse Evans: a Clarence Hemphill: example Jesse Evans: good one? Clarence Hemphill: of the giant remote that's impossible to lose. Mario Perry: Uh-huh. Jesse Evans: Brilliant. Mario Perry: Well Clarence Hemphill: And for something for kids. Yeah. Um. Jesse Evans: Yeah. Clarence Hemphill: 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. Jesse Evans: Mm-hmm. Clarence Hemphill: 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 Mario Perry. Jesse Evans: 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 Clarence Hemphill: So we're we're not gonna have any sort of display I think uh. Jesse Evans: Just the simple Clarence Hemphill: So, yeah, Jesse Evans: s Clarence Hemphill: it's just gonna be Jesse Evans: simple straight set Clarence Hemphill: just Jesse Evans: of Clarence Hemphill: gonna Jesse Evans: buttons. Clarence Hemphill: be push-buttons. Um. I think we shall have a limited number of buttons, ideally, I mean Jesse Evans: Yeah. Clarence Hemphill: a a power, channel up, channel down, volume up, volume Jesse Evans: Yeah. Clarence Hemphill: 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. Jesse Evans: Yeah. Clarence Hemphill: I guess it's to the point where we need to decide about that. Jesse Evans: Okay, and we're not yeah. Clarence Hemphill: Well now that we've decided Jesse Evans: Are Clarence Hemphill: on Jesse Evans: we Clarence Hemphill: our Jesse Evans: 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 Clarence Hemphill: Um Jesse Evans: We're Clarence Hemphill: it seems Mario Perry: Maybe Clarence Hemphill: like we wouldn't wanna Mario Perry: we can Clarence Hemphill: 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_ Jesse Evans: Yeah. Clarence Hemphill: can be yellow, or something like that. Jesse Evans: Yeah. Okay. Okey-dokey. Yeah, I don't have any other questions on this. Let's move over Clarence Hemphill: I Jesse Evans: to Clarence Hemphill: 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 Jesse Evans: Yeah, Clarence Hemphill: uh s Jesse Evans: sure. Clarence Hemphill: 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 Jesse Evans: Yeah, the Clarence Hemphill: prevents Jesse Evans: button that Clarence Hemphill: prevents Jesse Evans: just does Clarence Hemphill: the Jesse Evans: that, Clarence Hemphill: other Jesse Evans: yeah. Clarence Hemphill: uh the other buttons from operating. So that should be simple. Jesse Evans: Cool. Mario Perry: Right. Well, I'm just basically letting you know what's happening in the markets Jesse Evans: Mm yeah. Mario Perry: and what the fashions are for next year. Um. So yes, so from looking at this year's trends and fashions Jesse Evans: Mm-hmm. Mario Perry: 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 Jesse Evans: Yeah, why should people Mario Perry: Yep. Jesse Evans: buy this when they're already got Mario Perry: Exactly. Jesse Evans: a remote Clarence Hemphill: Mm. Jesse Evans: that came with the T_V_? Clarence Hemphill: Yeah. Mario Perry: Um second, uh it should be technologically innovative innovative. So Jesse Evans: What's that mean? Mario Perry: Technologically it should be like um work, basically, I guess. It should work. Clarence Hemphill: Well it should be it should be Mario Perry: Should Clarence Hemphill: maybe cutting edge in some sense, I mean have something that's little more Mario Perry: That's Clarence Hemphill: technologically Mario Perry: new. Clarence Hemphill: advanced Jesse Evans: Okay, Clarence Hemphill: than what's on the market. Mario Perry: Yeah. Jesse Evans: now the trouble is is we've Clarence Hemphill: Yeah. Jesse Evans: already decided that we're going with the stuff that works already, that's Clarence Hemphill: Yeah. Jesse Evans: cheap. Clarence Hemphill: Actually, Mario Perry: Yeah. Clarence Hemphill: I mean, these first two points we've already sort of gone away from, 'cause Mario Perry: Mm. Jesse Evans: Yeah. Clarence Hemphill: 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. Mario Perry: So, Jesse Evans: Maybe Clarence Hemphill: Mm. Jesse Evans: we Mario Perry: no loose Jesse Evans: could um Mario Perry: 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. Jesse Evans: Of course, they do. Mario Perry: Well, they do, but it's Jesse Evans: One Mario Perry: like Jesse Evans: hundred Mario Perry: it's not Jesse Evans: per cent, that's your first thing, you go, oh I'm not gonna buy that, 'cause I dunno if it works or not. Mario Perry: Yeah, but it looks good. If it looks good and it's it can just be there for decoration. Jesse Evans: Okay, well, what do you two think about this? Clarence Hemphill: So is is the advantage Mario Perry: But Clarence Hemphill: of Mario Perry: like Clarence Hemphill: Bluetooth that you can just like synchronise it with other electronics? Jesse Evans: Yeah, what I don't understand what Mario Perry: You could always insert, Jesse Evans: m Mario Perry: yeah. Clarence Hemphill: Yeah, that's basically what it allows you to do, right? Jesse Evans: Yeah, and it this is just gonna all this is being used for is your television. Mario Perry: Yeah, but, I mean, people Jesse Evans: It Mario Perry: like Jesse Evans: would that would mean you'd need a television that has Bluetooth in it, which Mario Perry: Well, Jesse Evans: no no Mario Perry: if you're Jesse Evans: television William Lanosga: Well Mario Perry: looking at Jesse Evans: does, does it? Mario Perry: if you looking at something that's going to be bought by people, you have to make it new, you have to make it Jesse Evans: That would mean Mario Perry: state Jesse Evans: we'd have to Mario Perry: of Jesse Evans: make Mario Perry: the art. Jesse Evans: a television as well. William Lanosga: 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. Jesse Evans: No, that would be your telephone in with your television. Clarence Hemphill: Yeah, William Lanosga: No Clarence Hemphill: the that wouldn't William Lanosga: i Clarence Hemphill: be the remote so much, Jesse Evans: Yeah, Clarence Hemphill: I mean William Lanosga: No, Jesse Evans: and William Lanosga: but Jesse Evans: i William Lanosga: if you get Bluetooth on the remote, you'd be able to Jesse Evans: Nah, the televi William Lanosga: I with the television, yeah. Jesse Evans: the television would have to be William Lanosga: I Jesse Evans: a William Lanosga: was Jesse Evans: Bluetooth William Lanosga: just trying to find Jesse Evans: compatible, William Lanosga: an advantage. Clarence Hemphill: Mm. Jesse Evans: basically. William Lanosga: Wha what w Mario Perry: Well, William Lanosga: what Mario Perry: it doesn't William Lanosga: advantage Jesse Evans: An William Lanosga: would Jesse Evans: and William Lanosga: you Jesse Evans: there William Lanosga: get Jesse Evans: is no William Lanosga: for Jesse Evans: there William Lanosga: the Jesse Evans: is no such thing. Mario Perry: 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. Jesse Evans: Okay. Mario Perry: If we want something new, we need to move away from what we already have and um William Lanosga: Maybe the kinetic Mario Perry: just go creative. William Lanosga: mo provision of energy then. It's been done for watches, but I haven't seen that for remotes, Jesse Evans: Okay. William Lanosga: yet. Jesse Evans: Yeah, this that's that's Mario Perry: And then Jesse Evans: very Mario Perry: you can market Jesse Evans: good. Mario Perry: it. Never have to change William Lanosga: Change Mario Perry: a William Lanosga: the Mario Perry: battery William Lanosga: batteries Mario Perry: again. William Lanosga: ever again. Jesse Evans: 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 William Lanosga: Yeah, well, Jesse Evans: up by Clarence Hemphill: Yes, Jesse Evans: doing William Lanosga: and Clarence Hemphill: so Jesse Evans: it. Clarence Hemphill: can William Lanosga: in little characters you say, yeah, but not too much. Mario Perry: I think, safety Jesse Evans: But yeah, by the squeezing it Mario Perry: s Clarence Hemphill: Yeah, Jesse Evans: the Clarence Hemphill: we can make the squeezing of the rubber be the be the generating Jesse Evans: Yeah, Clarence Hemphill: like the energy Mario Perry: Yeah. Clarence Hemphill: generator. Jesse Evans: that's a great idea. Well done. Mario Perry: Third most important aspect uh is it's easy to use. And I think we've all Clarence Hemphill: we're Mario Perry: um Clarence Hemphill: all about that. Mario Perry: 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, Clarence Hemphill: Okay, so we Mario Perry: and Clarence Hemphill: could have Mario Perry: things. Clarence Hemphill: keys that are like a b like a broccoli key and a Jesse Evans: Yeah. Clarence Hemphill: uh Mario Perry: Yeah. Clarence Hemphill: and an avocado Mario Perry: Rubber Jesse Evans: I wanna Clarence Hemphill: key Jesse Evans: watch Clarence Hemphill: on Jesse Evans: the Clarence Hemphill: them. Mario Perry: things. Jesse Evans: pineapple channel. Mario Perry: Um and as it's rubber the feel which is in this year is spongy, so it's it's not quite spongy, Jesse Evans: Well Mario Perry: but Jesse Evans: spongy, Mario Perry: spongy, Jesse Evans: that's Mario Perry: I would Jesse Evans: where. Mario Perry: say Jesse Evans: Yeah, Mario Perry: is Clarence Hemphill: Yeah, Jesse Evans: we're Clarence Hemphill: that's Mario Perry: yeah, Clarence Hemphill: great Jesse Evans: we're Clarence Hemphill: for us. Mario Perry: so Jesse Evans: ahead Mario Perry: we're Jesse Evans: of Mario Perry: in. Jesse Evans: the game there. Mario Perry: 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. Jesse Evans: Okay. Mario Perry: I had to say So Clarence Hemphill: Right. Mario Perry: we're moving in the right direction Jesse Evans: Alright, Mario Perry: like Jesse Evans: yeah, no, Clarence Hemphill: Yeah. Jesse Evans: 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 Clarence Hemphill: Yeah, William Lanosga: Yep. Clarence Hemphill: that's great. Jesse Evans: 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, Mario Perry: Mm. Jesse Evans: and um I'm not sure about the buttons being in the shape of fruit though. Clarence Hemphill: Yeah, I don't know how we William Lanosga: No Clarence Hemphill: incorporate William Lanosga: vegetables. Clarence Hemphill: We don't have Mario Perry: Maybe Clarence Hemphill: to follow Mario Perry: make Clarence Hemphill: every Mario Perry: it Clarence Hemphill: trend, Mario Perry: like Clarence Hemphill: I guess. Mario Perry: fruity colours or something. Some Clarence Hemphill: Uh-huh. Mario Perry: sort. Or Clarence Hemphill: The power Mario Perry: Mm. Clarence Hemphill: button could be like a big apple or something. William Lanosga: Well yeah, but Apple would sue you for that. Jesse Evans: Yeah, this is true. Clarence Hemphill: They don they don't own all images of apples. William Lanosga: sued the Beatles so Clarence Hemphill: Okay, we'll make it a uh pomegranate, a big pomegranate. Jesse Evans: 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 Mario Perry: Well Jesse Evans: what do what do we mean by slick sort of thing? Mario Perry: I think, if it's rubber it needs to be Jesse Evans: I mean you said earlier on i it should be funky. Mario Perry: different. I think, it's it should be you associate with rubber? You know like really different Jesse Evans: L Mario Perry: colours Jesse Evans: keep it Mario Perry: basically. Jesse Evans: clean, keep Mario Perry: Okay, Jesse Evans: it clean. Mario Perry: 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. Clarence Hemphill: Yeah. Mario Perry: Bright natural colours, nothing too Jesse Evans: Bright, but not too Mario Perry: Bright, Jesse Evans: bright. Mario Perry: but too not yeah. Clarence Hemphill: Yeah. Mario Perry: Like no lime green or bright yellow or bright pink. Wanna make it different colours so anybody can choo like Jesse Evans: Like the volume Mario Perry: like Jesse Evans: buttons should be the all the same colour and the d and the the channel buttons Clarence Hemphill: Mm. Jesse Evans: should be one colour and stuff like that, do you mean? Mario Perry: Yeah. And on the back of it have the logo. Jesse Evans: Okay, what? William Lanosga: Yeah. Clarence Hemphill: Sure. William Lanosga: Why not? Jesse Evans: Okay. Clarence Hemphill: The one Jesse Evans: Tha Clarence Hemphill: thing I'm wondering about, I hope that we're not going like too much down a gimmicky road of of Jesse Evans: Yeah, Clarence Hemphill: having Jesse Evans: I mean Clarence Hemphill: I Jesse Evans: we Clarence Hemphill: mean Jesse Evans: that's Clarence Hemphill: if somebody Jesse Evans: we Clarence Hemphill: go goes Jesse Evans: we Clarence Hemphill: into the store they're gonna see like three or four normal remotes, and then a big spongy pink t tomato Jesse Evans: Yeah. Clarence Hemphill: uh remote. Jesse Evans: This Clarence Hemphill: I mean what are ninety Jesse Evans: is Clarence Hemphill: per Jesse Evans: the Clarence Hemphill: cent Jesse Evans: remote Clarence Hemphill: of people Jesse Evans: control Clarence Hemphill: gonna take? Jesse Evans: tomato. Mario Perry: 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. Jesse Evans: Yeah. Mario Perry: 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 Jesse Evans: Well, it's it's gotta be chew proof. Mario Perry: Yeah. So William Lanosga: I'm gonna write that Mario Perry: so it's William Lanosga: down. Mario Perry: 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. Jesse Evans: So, what are you saying, maybe we should market it in different colours Mario Perry: Yeah. Jesse Evans: for different so we could do William Lanosga: That's Jesse Evans: like Clarence Hemphill: Mm. Jesse Evans: the pink William Lanosga: yeah. Jesse Evans: range, the blue range, the green range, the Mario Perry: 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. Clarence Hemphill: Yeah I mean, that that seems Mario Perry: It's Clarence Hemphill: to work Mario Perry: um Clarence Hemphill: well with for products like iPod, where, you know, you have Mario Perry: Yeah. Clarence Hemphill: a Jesse Evans: Mm. Clarence Hemphill: variety of colours, that people feel like they're customising it Mario Perry: Mm. Clarence Hemphill: when they buy it, even, you Mario Perry: D Clarence Hemphill: know, Mario Perry: you've William Lanosga: Although Clarence Hemphill: just Mario Perry: got Clarence Hemphill: just William Lanosga: I'd Clarence Hemphill: by Mario Perry: the William Lanosga: be Clarence Hemphill: the William Lanosga: curious Clarence Hemphill: fact of choosing. William Lanosga: 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. Clarence Hemphill: Right. Jesse Evans: Well that's that can be down to bit of market researching William Lanosga: Mm. Jesse Evans: you know, if that's Clarence Hemphill: Yeah. Jesse Evans: easy enough to find out what colours are more popular. William Lanosga: And produce less of the silly colours, maybe. Jesse Evans: 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. William Lanosga: Yep. Jesse Evans: 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 William Lanosga: Alright. Jesse Evans: to your separate offices. Clarence Hemphill: Okay. Jesse Evans: Um and I think you are gonna get a chance to play with some clay. Clarence Hemphill: Oh right. Jesse Evans: I think, yeah, it's gonna William Lanosga: Mm. Jesse Evans: 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 William Lanosga: Cool. Jesse Evans: the moment, uh you know, it's it's hard. Clarence Hemphill: Yeah. Jesse Evans: We William Lanosga: It Jesse Evans: were William Lanosga: is. Jesse Evans: 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. Clarence Hemphill: That sounds good. Jesse Evans: Um and you're gonna be working on the product evaluation. Mario Perry: Evaluation. Jesse Evans: Um. And I will be uh talking to the bosses, basically, and uh f fielding off some more spam and uh William Lanosga: Great. Jesse Evans: 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 Clarence Hemphill: Mm. Jesse Evans: 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. Mario Perry: Mm. Jesse Evans: 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, Mario Perry: Yeah. Jesse Evans: 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 Clarence Hemphill: Right. Jesse Evans: 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. Clarence Hemphill: Alright. Jesse Evans: Anyone have any uh any questions, everyone know what they're doing? Clarence Hemphill: Yeah. Jesse Evans: 'Cause if you don't, you'll I'm sure you'll soon get an e-mail about it. Clarence Hemphill: Yeah. Mm, I think we all know what Mario Perry: S Clarence Hemphill: we need to do now. Mario Perry: This gives you all the details? Jesse Evans: Okay. Clarence Hemphill: Okay. Jesse Evans: 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 Clarence Hemphill: Okay, I'll stay Jesse Evans: bef Clarence Hemphill: in here. Jesse Evans: before you all disappear off just Mario Perry: um. Jesse Evans: hold hold fire. Um. Clarence Hemphill: Does the pay-raise immediately come into effect on our next pay-check, or is that Jesse Evans: Um I think, it's uh, yeah, I think, it's gonna be par part more of a profit sharing on the product. Clarence Hemphill: So we're buying fut I mean, we're getting futures in the company. Jesse Evans: Yeah, I think i I think that's I think that's the way it's gonna happen at the moment. Clarence Hemphill: So we really have a incentive to make this remote work. Jesse Evans: Yeah. Yeah. Clarence Hemphill: I'd like to share in the coffee machine profits, because that's really doing well. Jesse Evans: I want a share in the space rocket. Did you see that this k Clarence Hemphill: Yeah. Jesse Evans: that this company we've made Mario Perry: Yeah. Jesse Evans: a spaceship. Clarence Hemphill: This company has its its fingers in a lot of different pots. Jesse Evans: Yeah. Mario Perry: Mm. Jesse Evans: Yeah. Clarence Hemphill: Yeah, we're definitely not in the money making department. Clarence Hemphill: 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 Jesse Evans: Yeah. Clarence Hemphill: noticeable. I mean, if you look like at the coffee maker at the at the corporate web page, it's Mario Perry: Mm. Clarence Hemphill: 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 Jesse Evans: Mm. Clarence Hemphill: sil silver and black. William Lanosga: That's true. Jesse Evans: And the spaceship doesn't have the R_ Clarence Hemphill: No. Jesse Evans: have a massive R_ and R_ down the side of it but Clarence Hemphill: Mm. William Lanosga: Doesn't Jesse Evans: I still want one. Okay. Um I've just had a sign flashing up saying, finish the meeting. William Lanosga: Yeah. Jesse Evans: Uh. Clarence Hemphill: Okay. Jesse Evans: Yeah. Clarence Hemphill: Right, well, I guess that's us. Jesse Evans: 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. Clarence Hemphill: Okay. Right. William Lanosga: Are we taking these off? Jesse Evans: Yeah. Yeah, it says you two.

Jesse Evans recapped the decisions made in the previous meeting. William Lanosga 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. Mario Perry 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

Paul Soto: 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 John Stcyr: Yep. Paul Soto: putting 'em them in the shared folder. So Harold Jennings: Right. Paul Soto: 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. Carlos Winfield: Mm shall we go in the that you just did it? Paul Soto: Sure, please do. Carlos Winfield: I dunno. How do I hook my screen up? Harold Jennings: I think you might have to disconnect. Paul Soto: Yes I do. Paul Soto: Yeah. John Stcyr: Well there's a wee Carlos Winfield: Where John Stcyr: a Carlos Winfield: does John Stcyr: wee Carlos Winfield: it go? John Stcyr: plug just Carlos Winfield: Mm-hmm. John Stcyr: that one there Carlos Winfield: Hmm, I'm not supposed to move this, but John Stcyr: Ah that's it, yep. John Stcyr: And then you have to press function F_ eight I Paul Soto: Function, John Stcyr: think it Paul Soto: F_ John Stcyr: is Paul Soto: eight, John Stcyr: on Paul Soto: yeah. John Stcyr: your laptop. Carlos Winfield: Where's Paul Soto: The Carlos Winfield: function? Paul Soto: blue one, F_N_. Carlos Winfield: No signal. Paul Soto: Is it plugged in all the way and you screwed it in and Carlos Winfield: Ah, Harold Jennings: Yeah. Carlos Winfield: wait, 's screw in. Harold Jennings: I I Carlos Winfield: Push Harold Jennings: think Carlos Winfield: the screw. Harold Jennings: you just have to push it in really hard. John Stcyr: That's it. Harold Jennings: Oh, got it. Paul Soto: Mm 'kay. Carlos Winfield: Mm alright Paul Soto: It's taking it a little bit Carlos Winfield: I've never attached to anything. Harold Jennings: Mm, neither have I. Paul Soto: 'Kay there you go. Carlos Winfield: Alright, Harold Jennings: Alright. Carlos Winfield: 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. Paul Soto: Press the little presentation. It's the um it looks like a Y_ kind of over there above Draw. There, that one, there you Carlos Winfield: Alright. Paul Soto: go. Carlos Winfield: 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 Harold Jennings: Hmm. Carlos Winfield: 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 Harold Jennings: 'Kay. Carlos Winfield: 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 Harold Jennings: Hmm. Carlos Winfield: 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 Carlos Winfield as to what R_S_I_ is, because John Stcyr: Repetitive Carlos Winfield: I don't know. John Stcyr: strain injury. Carlos Winfield: What? John Stcyr: Repetitive strain injury. Carlos Winfield: Ah. There we go. Wow. John Stcyr: So Carlos Winfield: People John Stcyr: if Carlos Winfield: do John Stcyr: you Carlos Winfield: 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 Carlos Winfield 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. Harold Jennings: Hmm. Paul Soto: Thank you very much. That was that was great. Harold Jennings: Mm 'kay. Paul Soto: Um 's move on to the next presentation um on effects. Was that Carlos Winfield: Hmm. Paul Soto: you? Great. Carlos Winfield: Yeah, have I unscrewed it? Paul Soto: Push. User interface, right. Interface. Carlos Winfield: Here we go. John Stcyr: Cheers. Carlos Winfield: Mm-hmm. And I think that's in the shared, if I did it right, if anyone wants to look at Paul Soto: Mm Carlos Winfield: it. Harold Jennings: Okay, Paul Soto: 'kay, thank you. Harold Jennings: great. Paul Soto: Okay. John Stcyr: 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, Paul Soto: Hmm. John Stcyr: 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 Paul Soto: Hmm. John Stcyr: 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. Paul Soto: Mm 'kay. Thank you very much. That was very useful. It's funny to see the drastic difference between those two remotes. Harold Jennings: Hmm. Paul Soto: Um. And neither of them were very pretty, you know? Carlos Winfield: No. Harold Jennings: Yeah. I think that could be our selling point. Paul Soto: Mm. Carlos Winfield: A fashion fashion remote. John Stcyr: I Harold Jennings: Right. John Stcyr: think there's there's certainly a market for technology that looks cool. Paul Soto: Mm. Carlos Winfield: Mm-hmm. John Stcyr: And I think that's that's why companies like Apple've 've 've Harold Jennings: Hmm. John Stcyr: made Carlos Winfield: Yeah. John Stcyr: a lot of progress. Harold Jennings: Right, I really can't see what I'm doing, so does anyone have a Paul Soto: You there it is. Harold Jennings: Ah-ha, look at that, showing up already. Paul Soto: Lovely. Carlos Winfield: So wait, did it let you go on the Internet or was that just what it let you see? John Stcyr: Uh that was just on the d on Carlos Winfield: Okay. John Stcyr: the company web site, yeah. Carlos Winfield: 'Cause I was like Paul Soto: Hmm. Harold Jennings: Yeah Carlos Winfield: googling and then I'm like wait it won't let Carlos Winfield google. Harold Jennings: Alright um No, how do I play again? Paul Soto: Um the it's right above Draw. There are three thingy if it's way at the bottom. Harold Jennings: Ah. Paul Soto: Under three icons and it's the one that looks like a desk. Yeah, that one. There are Harold Jennings: Okay. Paul Soto: Y_s. Harold Jennings: 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 Carlos Winfield 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. Paul Soto: You just press yeah, just Harold Jennings: Uh. Paul Soto: click. That'll be fine. Harold Jennings: 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. Paul Soto: Um yeah use that thing you can go back, previous. Harold Jennings: Previous. Sorry about that, guys. Paul Soto: Pardon. Harold Jennings: Oh. Paul Soto: Oh, Harold Jennings: No, no, Paul Soto: well. Harold Jennings: no, no, no. Paul Soto: Okay. Harold Jennings: Okay, let's just get back to my schematic here. Paul Soto: Ye Double click on it. With the right with the left Harold Jennings: W Paul Soto: hand one. Harold Jennings: yeah, yeah. I think it's frozen. Here. Don't show Carlos Winfield that tip again. Paul Soto: There we Harold Jennings: There we are. Paul Soto: are. Harold Jennings: 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 Paul Soto: Mm-hmm. Harold Jennings: 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 Paul Soto: Mm-hmm. Harold Jennings: having to get frustrated and go do it by hands. So that's pretty much it for the working design. Paul Soto: Excellent. Paul Soto: So, um. Harold Jennings: Rose, do you think you can give Carlos Winfield a hand with this? Paul Soto: Yes, absolutely. Paul Soto: Ah I can never tell which way to turn these things. Harold Jennings: Yeah. Paul Soto: Lefty loosey, righty tighty, right? Harold Jennings: Yeah. John Stcyr: What's up? Lefty Paul Soto: Lefty loosey, John Stcyr: loosey. Paul Soto: righty tighty. John Stcyr: Uh. Never heard that before, that's good. Paul Soto: Oh yes. John Stcyr: I'll think of that every time now. Harold Jennings: It's Carlos Winfield: Yeah, Harold Jennings: gonna Carlos Winfield: that's Harold Jennings: stick Carlos Winfield: a good Harold Jennings: in your Carlos Winfield: one it'll Harold Jennings: head. Carlos Winfield: stick with you. Paul Soto: Mm 'kay. Paul Soto: Um I have nothing on my screen. Just a sec. Harold Jennings: Mm. Paul Soto: Here we are. Harold Jennings: Ooh, no signal. Paul Soto: Okay, yeah, it's fine. Okay, requirements. We have a couple new requirements that I was just e-mailed right before the meeting and Harold Jennings: Okay. Paul Soto: 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. Carlos Winfield: What's teletext? Paul Soto: Um. Harold Jennings: Uh, it's a British thing. Carlos Winfield: Oh. John Stcyr: You don't Carlos Winfield: Oh, John Stcyr: have Carlos Winfield: so John Stcyr: it in the States? Harold Jennings: No. Paul Soto: It no. W d John Stcyr: Oh, Paul Soto: could John Stcyr: I didn't Paul Soto: would John Stcyr: realise. Paul Soto: you care to explain it? John Stcyr: Um yeah, it's like a Um you have like you have uh numbers on your remote control, Carlos Winfield: Mm-hmm. John Stcyr: 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 Harold Jennings: S John Stcyr: stuff like what's on T_V_ next and share prices and that kind of thing. Harold Jennings: Lottery numbers and sport scores. John Stcyr: Yep, news headlines. Harold Jennings: 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. Paul Soto: How? Carlos Winfield: Oh. John Stcyr: It's earl it's pretty old technology. It's like Paul Soto: Okay. John Stcyr: nineteen eighties. Carlos Winfield: That explains a lot. Harold Jennings: I have no idea why we don't have it, but Carlos Winfield: That's good. Paul Soto: 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 John Stcyr: Right. Paul Soto: 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. Harold Jennings: 'Kay. Paul Soto: Um and finally there's more marketing, I think, um, our corporate image has to be recognisable. So while we're gonna make it Harold Jennings: Mm. Paul Soto: look pretty we need to use our colour and our slogan i in the new design. John Stcyr: So what's our corporate image like? It's It's kind of yellow colour with uh Paul Soto: Looks John Stcyr: we Paul Soto: like, John Stcyr: put Paul Soto: yeah, John Stcyr: fashion Paul Soto: kind of John Stcyr: in Paul Soto: a yellow John Stcyr: electronics. Paul Soto: and black and we have that the emphasis on the R_s in John Stcyr: It's like Paul Soto: um John Stcyr: double R_. Paul Soto: mm-hmm. John Stcyr: Yeah. Paul Soto: But it's, yeah, we put the um fashion in electronics. So we gotta keep that in that in mind. Harold Jennings: Okay, so we want something that looks good Paul Soto: Yep. Yep. Harold Jennings: and is yellow. Paul Soto: Yeah, or ha maybe some buttons could be yellow. Harold Jennings: Okay. Paul Soto: 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, Carlos Winfield: Mm-hmm. Paul Soto: 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, Carlos Winfield: Mm-hmm. Paul Soto: but younger people did. Um and so? Harold Jennings: 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. Carlos Winfield: Yes, I do think, who's gonna have the money to buy that also, Paul Soto: Mm-hmm. Carlos Winfield: that one? Paul Soto: It's gonna be twenty five Euro remember, so um it has to be avai marketable to um whomever it is. Harold Jennings: Mm-hmm. John Stcyr: 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. Paul Soto: Well at least right now what we're doing is um deciding on just the remote itself, so it John Stcyr: Right. Paul Soto: will probably be sold separately, John Stcyr: Right, okay. Paul Soto: twenty five Euro by itself. Carlos Winfield: 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 Harold Jennings: Mm-hmm. Carlos Winfield: 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. Harold Jennings: Yeah, that's probably uh a population w quite a little bit of disposable income for use on technology anyway, so John Stcyr: Yeah. Harold Jennings: that might be a fairly good target group for us. Paul Soto: Now, those are that's all specific for speech recognition. Are we gonna use that as one of our functions? John Stcyr: Um. Harold Jennings: Mm. John Stcyr: I I would say no, because it's gonna add too much to the price. Especially if we are marketing it as a separate Paul Soto: Mm-hmm. John Stcyr: product, people are gonna be paying uh, well, uh we've got a price limit Paul Soto: Mm. John Stcyr: of was it twelve twelve and a half Euros for Harold Jennings: To produce it, Paul Soto: To Harold Jennings: yeah. Paul Soto: produce John Stcyr: to produce Paul Soto: it, yes. John Stcyr: it? And I wonder if we can get voice recognition into that Paul Soto: Mm. John Stcyr: twelve and a half Euros without having to make too many other compromises. Carlos Winfield: 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 John Stcyr: Yeah. Carlos Winfield: it look good, Harold Jennings: Hmm. Carlos Winfield: how is it I mean it can look really great and still have the same up-n-down Harold Jennings: But Carlos Winfield: buttons and why's anyone Harold Jennings: right. Carlos Winfield: gonna buy a new remote? Harold Jennings: 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 Carlos Winfield: Mm-hmm. Harold Jennings: more technology, in Paul Soto: That's Harold Jennings: fact Paul Soto: a good Harold Jennings: it Paul Soto: thing Harold Jennings: could Paul Soto: to Harold Jennings: use Paul Soto: keep in mind. Harold Jennings: it could mean, not. If they might be overwhelmed with with remotes that have too many buttons and too much technology. Carlos Winfield: If someone's looking to buy a new remote, don't they want like an upgrade? I dunno. Paul Soto: Upgrade? Well, we can look for we can look at upgrade or we can look at um user-friendly. Harold Jennings: Yeah, simplification. John Stcyr: Yeah. Paul Soto: Simplification, Carlos Winfield: Mm-hmm. Harold Jennings: They could have a crap Paul Soto: so Harold Jennings: remote that came with their T_V_ that's just impossible to use, or maybe it broke, or maybe Carlos Winfield: Mm-hmm. Harold Jennings: they're just missing it. Paul Soto: 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 Harold Jennings: Hmm. Carlos Winfield: Can you like John Stcyr: Yeah. Carlos Winfield: 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 Harold Jennings: Ooh. Carlos Winfield: the buttons, but the rest of them like went in. John Stcyr: The Carlos Winfield: Do you know what I'm saying? John Stcyr: remote There Paul Soto: Kind John Stcyr: are Paul Soto: of John Stcyr: remote Paul Soto: pull out John Stcyr: controls Paul Soto: of the side. John Stcyr: like that, yeah. Like some T_V_s they have a sort of uh a sliding screen on the remote control of it Paul Soto: Mm. John Stcyr: that hides all the complicated buttons. Harold Jennings: Ooh. John Stcyr: 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 Carlos Winfield: Mm-hmm. John Stcyr: screen down and there's Paul Soto: Mm-hmm. John Stcyr: all the all the special buttons. Carlos Winfield: 'Cause then 's like people who don't wanna ever look at them, never even have to see them Harold Jennings: Mm-hmm. Carlos Winfield: and Paul Soto: Mm-hmm. Carlos Winfield: if you like John Stcyr: Yeah. Carlos Winfield: 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. Paul Soto: Mm-hmm. Carlos Winfield: 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 Harold Jennings: Yeah, Carlos Winfield: more complicated John Stcyr: Yeah. Paul Soto: Mm-hmm. Carlos Winfield: ones, Harold Jennings: that's a good Carlos Winfield: but Harold Jennings: idea. Carlos Winfield: 's all still John Stcyr: I think Carlos Winfield: in John Stcyr: that's Carlos Winfield: one. John Stcyr: a good idea, yeah. Harold Jennings: Mm. Paul Soto: Um we have to be careful that that that doesn't impede um the chip transmitting information, Carlos Winfield: Yeah. Paul Soto: but Harold Jennings: Good John Stcyr: Yeah. Paul Soto: um Harold Jennings: point. Paul Soto: that's gonna be mostly technological thing. Harold Jennings: Yeah. Paul Soto: Um. Okay um, so what are we emphasising? I what in this John Stcyr: Si Paul Soto: project? John Stcyr: simplicity and fashion. Carlos Winfield: I think simplicity, Paul Soto: Simplicity Harold Jennings: Yeah Paul Soto: and fashion. Carlos Winfield: fashion. Harold Jennings: mm. Paul Soto: 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, Carlos Winfield: Mm-hmm. Paul Soto: so that you don't John Stcyr: Yeah. Paul Soto: have to travel around a lot. John Stcyr: Yeah. Carlos Winfield: What can Paul Soto: Um. Carlos Winfield: you do to like make the infra-red more functional, like why would it not be? I'm just wondering. Paul Soto: I think it's a lot to do with battery, Carlos Winfield: Okay. Paul Soto: but that's just my Harold Jennings: The battery and that I think that the chip takes the data and presents it well, without sort of scattering. Paul Soto: Mm-hmm. Carlos Winfield: So 's just the quality of the chip. Harold Jennings: Yeah. I think so. Carlos Winfield: Okay. Harold Jennings: The quality uh quality of all the components really, I mean, we can't really do anything shoddy work, 'cause it's John Stcyr: Yeah. Harold Jennings: gonna be visible down the line. Paul Soto: So our target group, we're saying, fifteen to thirty five? Carlos Winfield: Well, I dunno how useful that number is if we're not doing Paul Soto: S voice recognition, Carlos Winfield: Yeah. Paul Soto: which I kind of I kind of feel like voice recognition is not necessary in a remote control, Carlos Winfield: Yeah. I don't. Paul Soto: like it might be necessary for a T_V_ but not for the remote John Stcyr: It's, Paul Soto: c, you John Stcyr: yeah, Paul Soto: know. John Stcyr: it's Harold Jennings: Mm-mm. John Stcyr: pretty Paul Soto: Seems John Stcyr: it's pretty Paul Soto: a little bit John Stcyr: high-tech. Harold Jennings: Yeah. Paul Soto: Mm-hmm. Yeah, and it might be too expensive. Carlos Winfield: And if the whole idea is you're using a remote then why would you have voice, like you know what Paul Soto: Mm-hmm. Carlos Winfield: I mean and then it's like you wouldn't need a remote you'd just talk to your T_V_. Paul Soto: Yeah. John Stcyr: It's for, Harold Jennings: Ooh. John Stcyr: like, the ultimately lazy people, who can't even be bothered to pick up the remote. Harold Jennings: Yeah. Carlos Winfield: Mm yeah. Maybe Harold Jennings: I Carlos Winfield: 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, Paul Soto: Mm-hmm. Harold Jennings: Mm-hmm. Carlos Winfield: 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 Harold Jennings: Yeah, but I th I think regardless we're we're aiming for the under sixty five or something. Paul Soto: Under sixty five, John Stcyr: Yep. Paul Soto: 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 Harold Jennings: Or Paul Soto: up Harold Jennings: like Paul Soto: to like fifty? Harold Jennings: single professionals or something. Carlos Winfield: Twenty Paul Soto: Okay, single Carlos Winfield: to like fifty five. Harold Jennings: Yeah. Carlos Winfield: I dunno. Paul Soto: It's it's hard to Harold Jennings: It's Paul Soto: narrow Harold Jennings: really hard Paul Soto: it down. Harold Jennings: to figure out right now. John Stcyr: I think the product appeals across a quite a broad range of ages. Paul Soto: Mm-hmm. John Stcyr: 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 Paul Soto: Okay. John Stcyr: scared by having lots of buttons, and that might be older people, Paul Soto: Mm-hmm. John Stcyr: but then we've also got fashion, which is something that definitely appeals Harold Jennings: Yeah. John Stcyr: to younger people. Carlos Winfield: Well maybe we don't have to defi define the target group by the demographic of age, maybe we Paul Soto: Right. Carlos Winfield: can define it by like the demographic of like h t how much money they have to spend John Stcyr: Yeah. Carlos Winfield: or something like that, John Stcyr: Yeah Carlos Winfield: like, Harold Jennings: That's John Stcyr: aim Harold Jennings: a John Stcyr: for Harold Jennings: good Carlos Winfield: well Harold Jennings: point. John Stcyr: a Carlos Winfield: obviously Paul Soto: Mm-hmm. Carlos Winfield: it has to John Stcyr: an Carlos Winfield: be John Stcyr: income Carlos Winfield: someone who John Stcyr: group. Carlos Winfield: owns a television, Paul Soto: Mm-hmm. Carlos Winfield: and like Harold Jennings: Yeah. Carlos Winfield: how recently have they bought their television like that sort of thing. Harold Jennings: Mm. Paul Soto: So maybe it's more useful to d d to define objectives like fashion and Harold Jennings: Yeah, Paul Soto: simplicity than Harold Jennings: t probably. Paul Soto: to find specific target group as far John Stcyr: Yeah. Paul Soto: 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? Harold Jennings: Mm. Carlos Winfield: Yeah. Paul Soto: Like a button on a T_V_ you can press and it'll ring or something, I don't know like or Carlos Winfield: H Paul Soto: beep? Carlos Winfield: 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 Paul Soto: Mm-hmm. Carlos Winfield: knew about it. John Stcyr: Yeah. Carlos Winfield: 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. Harold Jennings: Mm. Carlos Winfield: It would be relevant to like the overall goal Paul Soto: Mm. Carlos Winfield: I think, Harold Jennings: Yeah, Carlos Winfield: so Harold Jennings: that'll probably be good. Paul Soto: 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. John Stcyr: Yep. Harold Jennings: Yeah. Paul Soto: And we want um we want large buttons for the essential things. John Stcyr: Yeah. Harold Jennings: Yeah. Paul Soto: Large, accessible buttons for the essentials. We want a possibility to um to get um a possibility to get the extra functions. Harold Jennings: Mm-hmm. John Stcyr: 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. Paul Soto: Mm-hmm. Carlos Winfield: Hmm. Paul Soto: 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 Carlos Winfield: on your coffee table, it's not like an eye sore, that kind Paul Soto: Mm-hmm. Carlos Winfield: of thing. Harold Jennings: Yeah. Alright. Paul Soto: Okay, do it. Any other essential functions that we need? Battery? Do we need a Harold Jennings: Battery Paul Soto: long-life battery? Harold Jennings: battery use. Yeah, but Carlos Winfield: Yeah. Harold Jennings: I think that goes in with simplicity and ease of use really. Paul Soto: But Carlos Winfield: So Paul Soto: we might Carlos Winfield: you Paul Soto: as well. Carlos Winfield: never have to change the battery. Harold Jennings: Yeah. John Stcyr: We should maybe investigate whether it needs a battery at all. I suspect the remote control does need a battery, but Paul Soto: Yeah, Harold Jennings: Yeah. Paul Soto: I would imagine. John Stcyr: I dunno if you can Paul Soto: Just 'cause it is an electronic device, the John Stcyr: Yeah. Harold Jennings: 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 John Stcyr: Yeah, Harold Jennings: one. John Stcyr: without the energy, Harold Jennings: But you John Stcyr: yeah. Harold Jennings: could maybe have it in a little charging station like a mobile phone, or like a little cradle for your iPod. John Stcyr: Yeah, that's Harold Jennings: You John Stcyr: that's Harold Jennings: could John Stcyr: possible. Harold Jennings: we could maybe John Stcyr: Yeah. Harold Jennings: do that instead. So you don't Paul Soto: Charging. Harold Jennings: ha you got like a rechargeable battery. John Stcyr: Yeah. Harold Jennings: I dunno, that might contribute to less people losing it too if Paul Soto: Mm-hmm. Harold Jennings: it it stays in one place. Carlos Winfield: Mm. Paul Soto: We have to think about um space in living-rooms, too, like Harold Jennings: Mm. Paul Soto: '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. Harold Jennings: Yeah. Paul Soto: Think it's Harold Jennings: That's just off the top of my head. Paul Soto: And maybe fun. Okay. Um 'kay we're gonna conclude now, has everyone said their functions and John Stcyr: Yep. Paul Soto: '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. Harold Jennings: Yeah, Paul Soto: It's kinda Harold Jennings: who knows. Paul Soto: frustrating, but um Be sure to note any frustrations or any um issues that come up in your um in your um summary. Harold Jennings: Okay Paul Soto: Mm 'kay? Harold Jennings: Sounds good. Paul Soto: Great seeing y'all. Carlos Winfield: It's good. Did you um were you able to like put yours in the group folder? Harold Jennings: Yes, I Carlos Winfield: Okay. Harold Jennings: just did that. Hopefully it is there for people. Carlos Winfield: Yep. Harold Jennings: Yeah? Paul Soto: Looks like there are um looks like there's a second one kind of of mine Harold Jennings: Yeah. Paul Soto: that's that I didn't do, it's from like an earlier project, I think so Harold Jennings: Okay. Paul Soto: um Carlos Winfield: Where is that? Yours is Paul Soto: Under the shared folder, I don't know it might not Harold Jennings: Technical. Paul Soto: even be under yours Harold Jennings: So Paul Soto: as well. Harold Jennings: in there we Paul Soto: Projects. Harold Jennings: have technical functions presentation, working design presentation and the functional requirements. At least that's Carlos Winfield: I Harold Jennings: what I Carlos Winfield: only Harold Jennings: have Carlos Winfield: have Harold Jennings: in. Carlos Winfield: three, I just have like our three. Harold Jennings: Yeah, Carlos Winfield: Yeah. Harold Jennings: that's what I have as well, R Paul Soto: Okay. Harold Jennings: Rose So. Paul Soto: You don't have mine? Carlos Winfield: No, but that's 'cause I think yours is in the e-mail separate, like it's not on the server. Paul Soto: S Harold Jennings: Yeah. Paul Soto: Mm. Carlos Winfield: But if I open it and then save it, probably will be there. Oh wait, never mind you can't save it to the Paul Soto: Okay. Well I'll figure that out in the meantime. Harold Jennings: Okay. Carlos Winfield: Okay. Paul Soto: Okay.

Paul Soto opened the meeting and stated the agenda. Carlos Winfield 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. John Stcyr 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. Harold Jennings described the interior workings of a remote. Paul Soto 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

Frank Lee: Mm-hmm. William Lynch: Mm yeah. Frank Lee: Okay. I g yeah. Time it? Eddie Penaloza: Fourteen twenty six. Frank Lee: Okay. Lovely to see you all again. Um it's our conceptual design meeting and it's starting at approximately fourteen twenty five and so we have forty minutes for this one again and so we'll go just after three o'clock. Um okay our agenda, we're gonna do an opening, I'm gonna review the minutes of the last meeting, then we'll have your three presentations um and then we'll have to make a decision on the remote control concepts, and we'll close. William Lynch: Okay. Frank Lee: So opening. Um these are our minutes from r the functional design. We decided our target group is the focus on who can afford it, because we have international appeal and we said it's for all age groups, different um functions of it. Our main objectives were simplicity and fashion. And s um in specific functions are something to keep the remote from getting lost, large buttons for the essential functions, a possibility for extra functions, like a sliding a sliding piece and a long-life battery or a charging station. Okay, now three presentations. I'd like to do it in this order, first do the conceptual specification of components, properties and materials um William Lynch: That would be Eddie Penaloza. Frank Lee: and then the conceptual specification of user interface Gale Ward: Yep. Frank Lee: and finally trend watching. William Lynch: Alright. Well. Frank Lee: Mm. 'kay. Frank Lee: Function F_ eight it. There we go. William Lynch: Alright. Um I'm very excited by this one actually guys I uh had a lot of fun doing it. Components design. This is where you look at what does it take to make a remote control and what should we make our specific remote control out of. Um. So, we need to examine each element separately, but we're designing a full thing, so you wanna keep it integrated as a whole. The main elements of remote controls in general, and therefore ours as well, are the case, the buttons, the circuit board with the chip and the battery. These are all things that we had sort of addressed before, but I'm gonna take each one a little bit separately here as we figure out what they should be made of and what they should look like. The case, uh the options that I've gotten from headquarters about what we can do, um there's there's the shape of a case, we could do a flat sh a flat case, a curved case or maybe even a double double-curved case. I haven't seen any pictures of what this exactly looks like yet, just keep that in mind, but these are the options that we have from manufacturing and we can make our case out of plastic, the m the main base will be plastic, but we have all these sort of fashion and technological elements we can add in, wood, latex, titanium, rubber or other coloured types of plastic. That would be our case. Um buttons, for buttons we have um pushbuttons, which is what Real Reaction uses the most often, but we also have scror scroll wheels, which can Frank Lee: Mm. William Lynch: have integrated pushbuttons, or we could go all high-tech and have an L_ L_C_D_ screen. Um circuit board and chip we can have a simple one, a regular one or an advanced one, depending on what our other needs are. And then battery I think is where things get most exciting. We're talking about long-life batteries here. Um we can we can have your sort of basic double A_ batteries, but we also have these options of um using a kinetic battery, like are used in high-tech watches, where you just have to move it a little bit to get it to power up. Um so simple movements like pushing buttons would recharge the battery. Or a solar battery, although there are slight um complications with solar batteries as in we can't use a latex case if we have a solar battery. Frank Lee: Hmm. William Lynch: Or um something they only described as the type of battery you find in torches from about fifty years ago, flashlights. Not quite sure what that is, but that's the description that I received, so that's what I'm passing on to you. So those are our options. Um personal preferences that I was thinking through here's what we've been talking about all through, fashion and simplicity. So if we're going for fashion in our cases, I think that what we're gonna wanna look at is a curved or a double-curved case, probably with a variety of design elements. Maybe titanium, maybe some wood. We're gonna have to investigate that better when I get specifics of the actual materials, but that's sort of what I have in mind. And we wanna go for simplicity. Probably pushbuttons, but I'm sort of intrigued by the idea of a scroll scroll Frank Lee: Mm. William Lynch: wheel, if anyone has anything any ideas on that? I mean I know the iPods and things right now have touch scroll um buttons which are exactly like what they're describing, so that might be something we wanna look into. And I'm really intrigued by the idea of a kinetic battery. Solar I don't think would be such a good idea, because how often are you sure that your remote control will get a certain amount of light. But this idea of the kinetic, that you don't have to replace, and that a simple just shaking it around will make it work, I think that that m would be a very interesting thing. But I think we'd also wanna go for e a simple chip or regular chip to keep our costs down. Uh we really only need a regular or advanced chip t if we're gonna start using an L_C_D_. So I think we want to be aware of not making things overly t technological if they don't need to be, 'cause that'll keep our manufacturing price way down. That's what I have for options. Um I'd appreciate anyone's input, but that's what I'm seeing for the future of the the look of this thing. Eddie Penaloza: Is double-curved like would be like two hands kind of thing? William Lynch: I'm not sure. I haven't received any specific Eddie Penaloza: Okay. William Lynch: visuals Eddie Penaloza: 'Cause I'm William Lynch: of Eddie Penaloza: imagining William Lynch: this yet. Eddie Penaloza: like double-curved is like, you know, like two sides that curve William Lynch: This is Eddie Penaloza: and William Lynch: what Eddie Penaloza: then like William Lynch: I'm sort Eddie Penaloza: one William Lynch: of Eddie Penaloza: curve would just be like a single vertical-ish kind of looking William Lynch: Yeah. Eddie Penaloza: thing, but I've William Lynch: I'm Eddie Penaloza: no idea. William Lynch: not sure, but I'll let you know as soon as I get any pictures. Eddie Penaloza: Sounds good. Frank Lee: Yeah, I wonder William Lynch: I know if we do have a double-curved case, it can't have any titanium in it. But the titanium, they were quite they're marketing quite hard to us as being used in the space programme, so that could be quite interesting. Space-age remote. Frank Lee: Mm-hmm. William Lynch: Just all things Frank Lee: Just William Lynch: to Frank Lee: an interesting William Lynch: keep in mind. Frank Lee: marketing kind of William Lynch: Yeah. Frank Lee: element. William Lynch: That's about all I have to do, guys. quickly. Frank Lee: Uh just a real quick question um the weight of these different elements, William Lynch: Yeah, Frank Lee: have William Lynch: n Frank Lee: you William Lynch: no Frank Lee: no William Lynch: idea, Frank Lee: idea, okay. William Lynch: no idea. Um I'm assuming that a kinetic battery isn't gonna take up that much weight, Frank Lee: Mm-hmm. William Lynch: and that a tita titanium is very light, I know, Frank Lee: Mm-hmm. William Lynch: um but other than that's really basic, I mean, that's all I have gotten so far. Frank Lee: Okay. William Lynch: Alright? Any other questions? Gale Ward: Uh-huh. Don't think so. William Lynch: No? Okay. Frank Lee: Mm 'kay. William Lynch: I have save this in the uh shared projects, if anyone wants to look Frank Lee: Thank you, perfect. William Lynch: and Eddie Penaloza: Thanks. William Lynch: I have c considerable notes on the topic as well, if anyone needs any more information. Uh Frank Lee: Um if you made notes yourself you can put those on our um underneath our William Lynch: Just in Frank Lee: oh, William Lynch: my notebook, Frank Lee: uh in your book, then don't worry about William Lynch: but if Frank Lee: that. William Lynch: anyone has any specific questions, don't hesitate to email Eddie Penaloza or something. Alright? Uh I guess I can Frank Lee: 'Kay now we're um concepts concepts of user interface. Yeah, um. This one's so much tighter than the other one. William Lynch: I know. Frank Lee: Okay. Nope. There we go. Here you are. Gale Ward: Jess. William Lynch: G oh, geez. Gale Ward: Alright, so I'm gonna describe the the concept of the user interface of this des device. Um we've talked about uh the two essential properties of the user interface. We want it to be simple and we want it to be fashionable. Um other we've also got to remember that this is a device that serves as a useful purpose. Uh we want people to be able to use it s as a remote control, so we need determine what the essential functions of the d of the device are and make sure that we include that we've included all of those and that we actually end up with a device that is going to be useful to people. We have a number of different choices for a design concept um and s that's that's something that that I'll show you some examples of um, but essentially we need to choose how how is this device going to work, how how what kind of model is there going to be for user interaction with this device. Uh once we've chosen a a concept for it, we can then design the features around the concept, making sure that we get all the essential functions in the device and uh the extra functions and the more advanced features. And of course we also have to make it look cool. So basically, that's what we don't want. M we don't want lots of buttons, uh complicated features. We want something that looks nice and simple. Here's a William Lynch: Hmm. Gale Ward: a fairly simple device. This is an an iPod from Apple. Um I think the main thing to notice about it is it just has four buttons. It's very minimalistic in its design. Uh you use these four buttons to m to move around a range of settings on the small L_C_D_ screen. Um the thing I like about this is that it's very very quick to access the main features. Uh you can just about make out uh that the button three buttons are uh previous track, next track and play pause. They're the main the main features of the iPod, the things you will use a all the time. Um then if you want to do anything more advanced, you go into the little menu on the L_C_D_ screen and you use the buttons just to scroll around and and find the more advanced features that you want. So I think that's that's a good a good kind of model that we could have. Um here's a another example. This is uh it's an interesting idea and I think i it looks pretty cool. Um it's certainly got novelty value. Uh Frank Lee: Mm. Gale Ward: it's nice and colourful, it's nice and bright. Uh it's also something that you can kind of feel your way around. The buttons are are different shapes and and you can sort of yeah if you're watching T_V_ in the dark or whatever, you can work out which button's which and basically, yeah it's ith it's fun. So I I like I like this idea of just having buttons for the features that you use most often. So you'd need a few buttons to select your favourite channels. I mean most people, when they watch T_V_, they have two hundred and fifty channels on their T_V_ and they watch of 'bout four of them at the most. So, you have buttons for your favourite channel, changing the volume, which is something you do all the time when you're watching T_V_, and the button to switch it off, in case you get bored. Um other features, things like adjusting the brightness, tuning the T_V_, uh I don't know what else you do with a T_V_. Um but these are these are all necessary functions. Uh you can't have a t there's no point having a television that you can't tune or that you can't set the contrast, so we need to find a way of including these somehow. Um and one other suggestions I'd make is to in is to include in a menu system, a bit like on the iPod. So we'd either have a small L_C_D_ display on the device itself, or uh have a dis a menu display that comes up on your television and can b be controlled through the device. William Lynch: Hmm. Gale Ward: And that would allow you to access access the advanced features uh whilst keeping a very small and simple set of buttons for the features that you use most often. Frank Lee: Okay. William Lynch: So you'd be advocating an L_C_D_ then? Gale Ward: I think that's that's one way to go, yes. William Lynch: Okay. Gale Ward: Um I mean there are there are advantages and disadvantages if you if you have an L_C_D_ display, it's it's nice, because it's it it lets you just sort of sit there and st and control your television from your armchair. William Lynch: Mm-hmm. Gale Ward: There are disadvantages, an an L_C_D_ display would have to be quite small, 'cause we're William Lynch: Right. Gale Ward: we're I well we're I assume we're gonna be making quite a small device. Um it would also have to have uh a kind of backlighting in it, 'cause you ten you tend to watch Frank Lee: Mm-hmm. Gale Ward: T_V_ in the dark, William Lynch: Right. Gale Ward: but you need to be able to see your L_D_D_ L_C_D_ display. The alternative is to have a an on-screen display on your television that you control through your remote control. Uh have these um digital boxes where you you press the buttons and it comes up with your this thing of watch lo what's Frank Lee: Mm-hmm. Gale Ward: on each channel. I mean William Lynch: Okay. Gale Ward: that that's also a good idea. It's it can it does have it's problems as well, if you've got a small T_V_ and you're sitting on the other Frank Lee: Mm. Gale Ward: side of a room, it's hard to read the little text that comes up. William Lynch: Mm-hmm. Gale Ward: Uh but that's a that's a design decision that we can make. William Lynch: 'Kay. Frank Lee: I do think that um one of the important features for a remote is seeing a menu and seeing what's on. Um Gale Ward: Yeah. Frank Lee: and so like favourite channels is is applicable, but I think th that you do need to have some kind of function where it's um you have t you can see William Lynch: Well Frank Lee: the title of the show or possibly a description of it. William Lynch: Are you Gale Ward: Yeah. Frank Lee: Like William Lynch: are you Frank Lee: I William Lynch: tak Frank Lee: I know I use Eddie Penaloza: Wait, Frank Lee: that Eddie Penaloza: but is Frank Lee: often Eddie Penaloza: that separate Frank Lee: enough. Eddie Penaloza: from what he was saying? William Lynch: Yeah. Frank Lee: Well if it if it was a L_ L_C_D_ on th on the remote, I don't know that you could f that you'd William Lynch: No, Frank Lee: be able to William Lynch: I Frank Lee: see William Lynch: think Frank Lee: a William Lynch: I think we're talking menu like contrast and Frank Lee: Okay. William Lynch: tuning the V_C_R_ or something if I've understood you correctly, Gale Ward: Yeah, that William Lynch: rather than Gale Ward: that William Lynch: menu Gale Ward: would be one William Lynch: as Gale Ward: of the William Lynch: what's Gale Ward: features, William Lynch: on. Gale Ward: yes. Frank Lee: Okay. Gale Ward: But it's Frank Lee: 'Cause that would Gale Ward: it's Frank Lee: be more specifically Gale Ward: it's Frank Lee: a Gale Ward: something Frank Lee: digital Gale Ward: to bear Frank Lee: box, Gale Ward: in mind is that Frank Lee: mm-hmm. Gale Ward: if we put a display on the remote control the c uh communication is one way, so you can't have the televisions and information back to the remote control, William Lynch: Oh, Gale Ward: at William Lynch: good Gale Ward: least William Lynch: point. Gale Ward: I Frank Lee: Mm. Gale Ward: don't think you can. Um I'm not sure. William Lynch: Yeah. Frank Lee: Okay, now Eddie Penaloza: Should Frank Lee: we're Eddie Penaloza: I plug Frank Lee: moving Eddie Penaloza: that Frank Lee: on Eddie Penaloza: in? Frank Lee: to market. Marketing. Gale Ward: Is that going on? Okay. Eddie Penaloza: Maybe it's just not Gale Ward: Uh that should Eddie Penaloza: Is it Gale Ward: be Eddie Penaloza: on? Gale Ward: alright, actually. Eddie Penaloza: Ri What F_ do you have to press, five? Frank Lee: Eight. Eddie Penaloza: I just keep pressing lots of 'em. Well, I don't know how relevant all of this gonna be. If anything, the that they gave Eddie Penaloza. William Lynch: No Frank Lee: Oops, William Lynch: signal. Frank Lee: it's not plugged in, quite Eddie Penaloza: Alright. Frank Lee: in well enough. There we are. William Lynch: Oop, there we go. Frank Lee: Mm 'kay. Eddie Penaloza: Oh yeah. Okay, so we're gonna look a little bit at trend watching. Basically, I was given um an executive summary that was a market investigation on remote controls that was recently conducted, and then also some fashion watchers in Paris and Milan commented on some things that are gonna be going on this year. So first um they had people they ranked um the important aspects of r remote controls, and right now i d they're saying that currently there's a functional look and feel preference, but that really, over the next year it it that's gonna be switching to fancy look and feel remotes, so that just goes back to the whole desire of our c Real Reaction company wanting to focus on fashion and so, even though we're stressing, when we're talking, we've all been talking about this like simplicity and easy to use idea, they're sort of wanting us to remember that the number one thing for everyone is that it's fancy look and feel. And as these are ranked, the top one is doubly important to the second one, which is doubly important to the third one, so William Lynch: Okay. Eddie Penaloza: just to take that weight into account. The second thing that was mentioned as important was the technological innovations. That would be like if we use something like the space material or the L_C_D_ screen, things like that. And then ease of use was the third most important, whi so really, no matter what, we need to focus the most on fancy look and feel, according to this. I don't know how much we agree with that. And then the fashion watch talks about that this year's top trend for clothes, shoes and furniture is fruits and vegetables and tha that there's a preference Frank Lee: S sweet. Eddie Penaloza: for spongy, tight material. And so that brings us to my personal preferences. Who wants a spongy remote or one with fruit and vegetable padding. Personally, I don't really think that I want one that's gonna go out of style or go stale, excuse the pun, um in a year, so even though this is coming from us as, you know, trend watch, market research, I don't know how much of it we necessarily wanna take away. Also, considering that the d research b has been carried out by Real Reaction, I'm a little hesitant as to like, how these questions may have been worded, and if necessarily this whole fashion to technology y edas ease of use is necessarily the right ranking. Personally, like I might reverse it, but if we're working for this company then I guess no matter what, we have to stress fashion the most. But it William Lynch: Mm. Eddie Penaloza: doesn't necessarily need to be a spongy material. William Lynch: That there's all kinds of scope for imagination in that one though. Eddie Penaloza: Yeah. I don't have a lot of notes to share if you want them, that pretty much sums it up. So yeah. Frank Lee: Okay, do we have any s some questions for this, let's Eddie Penaloza: Yeah, Frank Lee: see um. Eddie Penaloza: what can I possibly enlighten on? Frank Lee: Um do you have any ideas how to possibly use these? Um how to how to use a fruit or vegetable or um or the spongy material at all? Like could we make a s like could we make a spongy remote? It would be easier William Lynch: If Frank Lee: on William Lynch: it's Frank Lee: the hands. William Lynch: latex if it's latexy Frank Lee: It's kind of William Lynch: Um, Frank Lee: and then it William Lynch: mean Gale Ward: A kind of Frank Lee: we Gale Ward: thing Frank Lee: would have to Gale Ward: that Frank Lee: find a way to protect like the chip and all that, I dunno. William Lynch: An Frank Lee: But William Lynch: uh I if th my understanding of a latex case is that it's in fact hard to protect stuff inside, but that Frank Lee: Mm-hmm. William Lynch: it's covered with the latex, which is spongier and softer on your hands. It's there's something to be said, I mean we we got that thing earlier from you about um not wanting it to R_ R_ repetitive stress injuries Frank Lee: Mm-hmm. William Lynch: and Eddie Penaloza: Mm-hmm. William Lynch: things Gale Ward: Yeah. William Lynch: and and Yeah, Eddie Penaloza: Yeah, so something, m William Lynch: something Eddie Penaloza: m instead of William Lynch: grippable, Eddie Penaloza: a necess William Lynch: I mean Eddie Penaloza: yeah, William Lynch: we don't Eddie Penaloza: grip, William Lynch: we don't Eddie Penaloza: I'm thinking William Lynch: we don't wanna go Eddie Penaloza: grip William Lynch: spongy, Eddie Penaloza: more than William Lynch: maybe. Eddie Penaloza: like sinking into your hands, Gale Ward: Yeah. Eddie Penaloza: you know, i and I Gale Ward: Yeah. Eddie Penaloza: think I'm envisioning more like, William Lynch: Yeah. Eddie Penaloza: you know, the material that you have when you sit on like a bicycle, so Frank Lee: Mm-hmm. Eddie Penaloza: that it doesn't hurt when William Lynch: Mm-hmm. Eddie Penaloza: you're sitting down for a long time, like I'm imagining that sort of thing, I don't know what th that William Lynch: Yeah, Eddie Penaloza: material's William Lynch: I think Eddie Penaloza: called. William Lynch: that given the list of materials I w I was forwarded it's that seems doable. could we go in fruit and vegetable colours? We could colour-co-ordinate Frank Lee: F for William Lynch: them, Frank Lee: sure, or maybe William Lynch: li Frank Lee: like um couple main ones being like, I dunno, lemons or strawberries or something. William Lynch: The buttons could be fruit-shaped. Frank Lee: Could they be smelly? Gale Ward: I William Lynch: Oh Eddie Penaloza: Oh God. Gale Ward: Is it supposed to be shaped like a vegetable? Uh Frank Lee: I Gale Ward: like Frank Lee: don't Gale Ward: uh Frank Lee: know. Gale Ward: I dunno, like uh carrots or something. William Lynch: well it's Frank Lee: Or William Lynch: quite easy Frank Lee: carrot William Lynch: to s Frank Lee: shaped, William Lynch: shape thing Frank Lee: mm. William Lynch: like carrot isn't it? Gale Ward: Maybe, William Lynch: Or maybe the Gale Ward: or William Lynch: buttons could be shaped Frank Lee: Like large William Lynch: like different Frank Lee: button, William Lynch: fruits. Frank Lee: that's what I was thinking of, yeah. Eddie Penaloza: What about the idea of like a round remote? Instead of like a vertical up and down one. Like Gale Ward: Kind Eddie Penaloza: in Gale Ward: of Eddie Penaloza: terms Gale Ward: like a Eddie Penaloza: of Gale Ward: potato. Eddie Penaloza: holding it. Like that's a f shape William Lynch: be yeah. Eddie Penaloza: of a fruit. William Lynch: It'd Eddie Penaloza: Just Frank Lee: Might Eddie Penaloza: to Frank Lee: would you Eddie Penaloza: tie Gale Ward: Yeah. Frank Lee: think you Eddie Penaloza: it Frank Lee: you Eddie Penaloza: in a little. Frank Lee: do you think you'd be able to hold it? 'Cause I think the reason they're long William Lynch: be harder Frank Lee: is William Lynch: to f bu uh buttons Frank Lee: yeah. William Lynch: I think. It'd be harder to press Gale Ward: Depends. William Lynch: button. Frank Lee: Harder to push. Gale Ward: When you when you use a remote, do you press the buttons with your thumb, usually? Eddie Penaloza: Yeah. Gale Ward: Or your fingers? William Lynch: Um Frank Lee: I usually hold it in one hand. Maybe Gale Ward: Or maybe William Lynch: I Gale Ward: you want something that's shaped like a mobile phone, so you you hold it in one hand, and you press the buttons William Lynch: Yeah, Frank Lee: But then Gale Ward: with Frank Lee: the buttons Gale Ward: your thumb. Frank Lee: would William Lynch: that's Frank Lee: have to be very small. William Lynch: ts how I tend to do it. Eddie Penaloza: Yeah, Frank Lee: Don't Eddie Penaloza: 'cause Frank Lee: you think? William Lynch: No Eddie Penaloza: otherwise William Lynch: just Eddie Penaloza: your William Lynch: thumb-sized. Eddie Penaloza: fingers can't move around. William Lynch: Jus Eddie Penaloza: But Frank Lee: But Eddie Penaloza: I like Frank Lee: I mean Eddie Penaloza: i Frank Lee: in order to get to all of them, Gale Ward: Yeah. Frank Lee: you know. William Lynch: Yeah. Frank Lee: They would have to be within Gale Ward: Maybe. Frank Lee: a certain amount William Lynch: That's Frank Lee: of Gale Ward: But William Lynch: true. Frank Lee: space Gale Ward: if you've only Frank Lee: with Gale Ward: got Frank Lee: each other. Gale Ward: like four or five buttons anyway, then it's it's not William Lynch: Right. Gale Ward: so much a problem, perhaps. William Lynch: I When I'm when I'm pressing buttons on my iPod, that's how I do it, hold it and press Frank Lee: Mm-hmm. William Lynch: the Gale Ward: So William Lynch: four. Gale Ward: you hold it in one hand William Lynch: Yeah. Gale Ward: and you press you press the buttons William Lynch: Yeah, Frank Lee: Mm-hmm. Gale Ward: with William Lynch: or Gale Ward: your thumb William Lynch: in and use Gale Ward: and William Lynch: my thumb or my pointer finger on the touch scroll wheel. Gale Ward: And Eddie Penaloza: I Gale Ward: you find Eddie Penaloza: love Gale Ward: that works Eddie Penaloza: the idea Gale Ward: quite well? Eddie Penaloza: of the William Lynch: Yeah Frank Lee: Mm-hmm. Eddie Penaloza: wheel like the iPod. Gale Ward: Is Eddie Penaloza: 'Cause Gale Ward: that Eddie Penaloza: th Gale Ward: The button on an iPod, is it what is it, is it just four buttons or is it Eddie Penaloza: It's Gale Ward: li Eddie Penaloza: like Gale Ward: more Eddie Penaloza: five, Gale Ward: like Frank Lee: It's a Gale Ward: a Frank Lee: scroll, Gale Ward: scroll Eddie Penaloza: 'cause Gale Ward: thing? Eddie Penaloza: there's William Lynch: It Frank Lee: yeah, Eddie Penaloza: one William Lynch: wel Frank Lee: it's Eddie Penaloza: in the Frank Lee: a Eddie Penaloza: middle. Frank Lee: wheel. William Lynch: well yeah, it would I mean each version of it has been a little bit different, Frank Lee: The one I have William Lynch: but Frank Lee: doesn't have the four on i like William Lynch: Oh yeah, Frank Lee: around William Lynch: you had Frank Lee: it, William Lynch: one Frank Lee: I don't William Lynch: of the Frank Lee: think. William Lynch: in-between ones, when they weren't doing that anymore. William Lynch: Ts Gale Ward: Right. William Lynch: and you press the centre button, that's that's Gale Ward: Oh, William Lynch: your all-purpose Gale Ward: I see, William Lynch: select Gale Ward: right, yeah. William Lynch: button right there. Gale Ward: Oh, okay. William Lynch: Since it's the Gale Ward: Yeah, William Lynch: one Gale Ward: that's William Lynch: in the Gale Ward: quite William Lynch: centre Gale Ward: a good William Lynch: that's Gale Ward: design. William Lynch: not marked, yeah. Eddie Penaloza: I think why it would be good for us is 'cause like you could have the same wheel sort of effect for like channel flipping and then the other William Lynch: Yeah. Eddie Penaloza: one could be like for volume. Like just the idea of like those so few buttons William Lynch: Uh Eddie Penaloza: for main William Lynch: uh t Eddie Penaloza: things, but then how you could go back to the menu and like, I dunno if we would want it on the screen there or on the actual T_V_. I kind of am wanting William Lynch: Yeah. Eddie Penaloza: to say on the T_V_, 'cause if you're changing William Lynch: Hmm. Eddie Penaloza: the brightness, don't you wanna see it happening, kind Frank Lee: Mm. Eddie Penaloza: of? Gale Ward: Yeah. William Lynch: Yeah. Eddie Penaloza: And then William Lynch: Yeah, I Eddie Penaloza: you William Lynch: think Eddie Penaloza: could still William Lynch: an Eddie Penaloza: have William Lynch: L_C_D_ Eddie Penaloza: that available. William Lynch: screen might be good in theory, but not as useful Gale Ward: I think William Lynch: in Gale Ward: it William Lynch: practice. Gale Ward: could be difficult in practice, yeah. William Lynch: Yeah. Gale Ward: Also z yeah, 'cause you would be z looking down at the L_C_D_ screen, than William Lynch: Right. Gale Ward: back up at your T_V_ and Eddie Penaloza: Mm-hmm. Gale Ward: people William Lynch: Um Gale Ward: don't wanna do that. Frank Lee: Okay um William Lynch: Oh we Frank Lee: we William Lynch: probably have Frank Lee: have William Lynch: to get going, don't Frank Lee: we've William Lynch: we? Frank Lee: about fifteen minutes left, so I'm I'm gonna Eddie Penaloza: Uh-huh. Frank Lee: continue with my pres presentation. Um I've one more slide before we close, but in that slide is when we need to make decisions about this these kinds of things, so I'll just William Lynch: 'Kay. Frank Lee: bring that up and show you all before we move on. Um Eddie Penaloza: If I get William Lynch: Could Eddie Penaloza: any more information of fruits and vegetables, William Lynch: Could we Eddie Penaloza: I'll let William Lynch: uh Eddie Penaloza: you know. William Lynch: could we have changeable covers like for your mobile? Gale Ward: Like, William Lynch: In different Gale Ward: to William Lynch: fruit Gale Ward: make William Lynch: and Gale Ward: it William Lynch: vegetable Gale Ward: different fruits. William Lynch: colours, yeah. Gale Ward: Yeah, it's possible. Frank Lee: Yeah, and then like the the covers could be spongy latex William Lynch: Exactly. Frank Lee: wherea but the actual model could be titanium. William Lynch: And you could co-ordinate with your house or whatever. Gale Ward: I William Lynch: All Gale Ward: think William Lynch: these Gale Ward: maybe William Lynch: options. Gale Ward: th the packaging, it should be like a lemon and the the packaging is like the peel. So William Lynch: Ooh. Gale Ward: instead of opening the box you just kind of peel it, and the remote control's inside. Eddie Penaloza: Well, there we William Lynch: Oh. Eddie Penaloza: go. Gale Ward: Don't know. Frank Lee: Ah hmm Eddie Penaloza: The Frank Lee: hmm Eddie Penaloza: iPod packaging Frank Lee: hmm. Eddie Penaloza: is Eddie Penaloza like was so that was like half the fun. It's William Lynch: Yeah. Eddie Penaloza: like the way it all comes all cute. William Lynch: Mm. Eddie Penaloza: Lemons? William Lynch: Options. Frank Lee: Okay, um components concept. Energy, chip William Lynch: Uh-hu oh, Frank Lee: on print. William Lynch: oh yes. Right, Frank Lee: G William Lynch: I had sort of skipped over that hoping it wouldn't get be necessary but um Frank Lee: That's th th this is the agenda they gave Eddie Penaloza. So William Lynch: Alright, Frank Lee: can you just explain William Lynch: so Frank Lee: what that William Lynch: um Frank Lee: is real quick? William Lynch: decisions, what the okay deci decisions on energy I'm thinking is based on the battery. Frank Lee: Mm-hmm. William Lynch: Um I dunno, what do people think about this kinetic battery idea? Frank Lee: I think it's awesome. I William Lynch: Am Frank Lee: think William Lynch: I Frank Lee: it's really cool. William Lynch: Yeah. Eddie Penaloza: Yeah, I mean, it would t totally take care of our problem of not wanting to change batteries. William Lynch: Yeah. Gale Ward: Yeah, um I think it's good, as as long as we consider the the cost and the uh how reliable it is, but William Lynch: Right, Gale Ward: as far William Lynch: I haven't Gale Ward: as I know, William Lynch: gotten Gale Ward: the technology William Lynch: any Gale Ward: is good. Eddie Penaloza: Costs. William Lynch: yeah, any more information on cost other than it's more expensive than a regular battery, but um Eddie Penaloza: But over time William Lynch: but if we're using a an i a cheaper chip, then it'll even out, I think. Um circuit boards. Um yeah, I got a whole bunch of information on how circuit boards are produced. They're they're thin fibreglass with copper wires etched on to them, and di I think they're quite easily printed on by machine, which is chip on print is where the machine prints on the wires and solders it all together for us. I don't really know what to tell you as far as decisions. I wasn't really given any options, I was just given that this is how they're done. Frank Lee: Okay. William Lynch: Um yeah, I can't can't really tell you. I can I can tell you a whole lot about how it works. But I don't know any decisions on Frank Lee: If they're if they're really options. William Lynch: Yeah. I'm sorry, I did Frank Lee: Okay. Gale Ward: Al William Lynch: f Gale Ward: all circuit boards are pretty much the same, I think. Uh it's fairly fairly standard. William Lynch: Yeah. Frank Lee: then we'll move on to the case. Um oh bu I guess maybe if we decided on like a simple, a regular, or an advanced William Lynch: Right. Frank Lee: chip, William Lynch: Well Frank Lee: maybe. William Lynch: okay, here's the here's the thing on the chips that I that I got. Um simple, regular, advanced chip on print. The chip on print includes an infrared sensor, so we don't have to worry about that. Um, 'kay, the pushbutton if we're gonna have pushbuttons, they require a simple chip, but a scroll wheel requires a regular chip, and an L_C_D_ requires advanced. Do we want a scroll wheel, or do we just want pushbuttons? Gale Ward: Um I don't think we ne really need the scroll whe wheel. I mean it might be nice for changing the volume. William Lynch: Oh. Frank Lee: It would Gale Ward: Uh Frank Lee: be nice for changing Gale Ward: but Frank Lee: the volume, but I don't know how useful it'd be for changing the channel. Gale Ward: I don't Frank Lee: 'Cause Gale Ward: think Frank Lee: you Gale Ward: it Frank Lee: don't Gale Ward: would Eddie Penaloza: Yeah, Frank Lee: have Eddie Penaloza: it's Gale Ward: really Frank Lee: control Gale Ward: work. Eddie Penaloza: a Frank Lee: over numbers or Gale Ward: Yeah, you William Lynch: Yeah, Gale Ward: really need buttons William Lynch: th Gale Ward: for William Lynch: it'd Gale Ward: changing William Lynch: be Gale Ward: a channel. William Lynch: it'd be handy for going through if there was an on-screen menu of your channel choices, Eddie Penaloza: But William Lynch: than Eddie Penaloza: if William Lynch: you Eddie Penaloza: you William Lynch: can Gale Ward: Yeah. William Lynch: scroll Eddie Penaloza: c if you William Lynch: down Eddie Penaloza: could scroll William Lynch: on the scroll. Eddie Penaloza: through the channels, and then William Lynch: Yeah. Eddie Penaloza: the volume would just Frank Lee: We have Eddie Penaloza: be Frank Lee: five minutes left for the meeting, so. Eddie Penaloza: and the volume would just be like the same way, William Lynch: Yeah. Eddie Penaloza: forward and backward as I'm just thinking like it would make it much like sleeker sort of looking. William Lynch: Yeah. Eddie Penaloza: And Gale Ward: Yeah. Eddie Penaloza: otherwise, no matter how may buttons we have, we're gonna have like, you know, black with red sticking out and th no it's gonna inevitably sort of start looking like Gale Ward: Yeah. Eddie Penaloza: those group of sort of ugly ones that we saw stacked up. William Lynch: Hmm. Frank Lee: So, have a scroll for volume? William Lynch: F or for all those secret Frank Lee: F William Lynch: functions? When you get on the on-screen menu of all your functions that your remote could do for you without the buttons and you could have a scroll wheel to go through those menus. Gale Ward: I think yeah, I think a scroll wheel would be nice, but it's not necessary. William Lynch: Right. Gale Ward: Um William Lynch: So we could either go with a simple or a regular chip, depending and maybe we could table that decision for later. Frank Lee: Um. William Lynch: I don't know. Frank Lee: I think w well I think when we go on to the une userface, we're gonna have to decide the interface we're gonna have to decide William Lynch: Okay. Frank Lee: um whether we're gonna have a scroll or not. William Lynch: Well, let's think about that while we talk about the case. Frank Lee: Okay, let's do case. William Lynch: Uh I'm kinda liking the idea of latex, if if spongy Gale Ward: Yeah. William Lynch: is the in thing. Frank Lee: I'm a little um I'm a little hesitant about it, because I'm worried about protecting the stuff on the inside. William Lynch: Okay. Frank Lee: Um Eddie Penaloza: Oh could it be hard, and then William Lynch: Uh yeah, Eddie Penaloza: something around William Lynch: everything Eddie Penaloza: it? William Lynch: I've Frank Lee: Yeah, I would be more okay with like a titanium actual thing and then maybe William Lynch: N oh Frank Lee: like William Lynch: wha Frank Lee: a mobile phone William Lynch: what I've Frank Lee: kind of thing. William Lynch: what I've seen, just not related to this, Frank Lee: Mm-hmm. William Lynch: but of latex cases before, is that there's uh like a hard plastic inside, and it's just covered with the latex. Frank Lee: Okay. William Lynch: Not too thick a layer Frank Lee: Mm-hmm. William Lynch: of latex, just enough to be grippable, Frank Lee: Okay. William Lynch: like bike handles or or anything that you've seen like that. The inside is hard. I don't think we need to worry about protecting Frank Lee: Ge o William Lynch: the circuit board, I think that that's done for us. Frank Lee: Okay. Gale Ward: 'Kay. Yeah. Frank Lee: So we uh we do want latex. Gale Ward: Yeah. William Lynch: Yeah. Frank Lee: Okay. Latex. Um and probably in colours, maybe fruity, vegetable colours. William Lynch: Yeah. Frank Lee: Fruity colours. Okay um let's go to the ufe user interface then we'll come back to the chip I suppose. William Lynch: Oh and we want a curved case, yeah? Or a double-curved? Frank Lee: Well, we don't really know what the difference is, right? Eddie Penaloza: I'm thinking curved of some sort. Frank Lee: Yeah. William Lynch: Yeah, Gale Ward: Yeah. William Lynch: okay. We don't really know what the difference Frank Lee: Um okay, interface, the type and the supplements. So Gale Ward: Um Frank Lee: push or scroll, right? Gale Ward: Yep. Frank Lee: Or both? Gale Ward: Um And I think if we wanna keep our costs down, we should just go for pushbuttons, 'cause then we can have a a simple chip and it's simpler, it's it's cheaper to make pushbuttons than it is a scroll button. William Lynch: Good point. Gale Ward: So in terms Frank Lee: Mm-hmm. Gale Ward: of uh in terms of uh economics it's probably better to have pushbuttons. Frank Lee: And if we had a sc an on-screen um kind of thing that you could scroll through, like you can use your buttons to scroll through things. Gale Ward: Yeah, yeah, it's uh Frank Lee: I think Gale Ward: it's Frank Lee: that Gale Ward: it's fairly simple. Frank Lee: yeah. For channel surfing I think a scroll an actual like an iPod's kind of scroll thing would be too fast, William Lynch: Yeah. Frank Lee: I dunno. William Lynch: I say pushbuttons at least unless we get any information but I have no idea how much more expensive a scroll wheel is than than a pushbutton, but it's gotta be some more expensive, so Gale Ward: Yeah. William Lynch: I think it might be better to put our money into the stuff like the kinetic battery and the cool case Frank Lee: Mm-hmm. Gale Ward: Yeah. William Lynch: because Frank Lee: Is that okay Gale Ward: Interesting. Frank Lee: with you? How you feeling? Eddie Penaloza: Yeah. And let's like see if we get anything else. I mean I'm not like hard-sold on the scroll wheel, it's more just to give it a different kind of look, Frank Lee: Mm-hmm. Eddie Penaloza: but if it's gonna be in a latex type thing Frank Lee: It might Eddie Penaloza: and that's Frank Lee: be cool Eddie Penaloza: gonna look Frank Lee: enough. Eddie Penaloza: cool, then that's probably gonna have a bigger impact than the scroll wheel. William Lynch: Yeah. Frank Lee: Okay, so we're gonna go with um type pushbuttons, Gale Ward: Yep. Frank Lee: and then supplements, how are we gonna do that? Gale Ward: Uh what do you mean by supplements, exactly? Frank Lee: Um I assume that's what else we're gonna like h ha the um the additional buttons we can use. Gale Ward: Um William Lynch: Oh. Frank Lee: So we're gonna have like a menu button, Gale Ward: Yep. Frank Lee: so that we can access on-screen things Gale Ward: Yeah. Frank Lee: then? Okay, um William Lynch: Alright. Frank Lee: so Gale Ward: Um Frank Lee: we're Gale Ward: in Frank Lee: doing an on-screen menu William Lynch: So what Frank Lee: that William Lynch: are Frank Lee: we Gale Ward: Yeah. Frank Lee: can William Lynch: what Frank Lee: scroll William Lynch: are our Frank Lee: through. William Lynch: buttons gonna be? On off Gale Ward: On off, uh volume, favourite channels, uh William Lynch: So like one Gale Ward: and William Lynch: through Gale Ward: menu. William Lynch: five, or Gale Ward: Yeah, Eddie Penaloza: Like a Gale Ward: yeah Eddie Penaloza: radio Gale Ward: about Eddie Penaloza: type sorta situation? Gale Ward: yeah like yeah, a bit like radio presets. Um Frank Lee: Pre-set channels and then we're gonna need um numbers one through zero, right? Gale Ward: Uh we wouldn't even need William Lynch: No. Gale Ward: the numbers. I think maybe numbers seems is kind of Frank Lee: Well, Gale Ward: old-fashioned. Frank Lee: but in order to pre-set a cha oh I guess you can just hold it down Gale Ward: Yeah, Frank Lee: when you get Gale Ward: yeah, Frank Lee: to one Gale Ward: you can just William Lynch: Mm. Frank Lee: when you're scrolling through. Gale Ward: and you need some kind of, I dunno, sort of up down kind of button, William Lynch: Yeah, Gale Ward: but William Lynch: up Gale Ward: the volume William Lynch: down. Gale Ward: control could double for that, for example. Frank Lee: Mm-hmm. Okay, um finishing the meeting now. Um our next meeting starts in thirty minutes, um you each have things to do, look and feel design, user interface design, product evaluation, and you two are going to work together on a prototype using modelling clay. You'll get specific William Lynch: Ooh. Frank Lee: instructions Gale Ward: Cool. Frank Lee: from your personal coach. Eddie Penaloza: Wow. Frank Lee: Um did we decide on a chip? Let's go with a simple chip? William Lynch: Simple chip. Gale Ward: Yep. Frank Lee: Okay. We are done. Thank you everyone. Oh I di these are already in our shared folder, William Lynch: Okay, cool. Frank Lee: so. William Lynch: Clay. Gale Ward: Clay. I wasn't expecting that.

Frank Lee recapped the decisions made in the previous meeting. William Lynch discussed possible materials to use in making the case for the remote, options for buttons, and options for batteries. The interface specialist presented two existing products which incorporate features the team is seeking to embed in their remote. The interface specialist also discussed other features to possibly incorporate into the design of the remote, such as an LCD screen. Eddie Penaloza discussed recent findings from trend watching reports and how to incorporate these findings into the remote design with respect to what materials to use and the overall appearance of the product. The team then discussed other options for how they could incorporate a fruit and vegetable theme into the appearance of their product. The team then discussed other options for batteries, chips, buttons, and materials for the case, as well as the option to have a menu function.

amisum

train

Dewey Sellers: Are you sure I got it all head's kinda small. Bryan Heard: How're Dewey Sellers: Okay. Bryan Heard: we placed in terms of the alright. Dewey Sellers: We're okay? Daniel Mathes: I should probably try sit straight. Joseph Striplin: Like that? Okay, cool. Dewey Sellers: We're good? Daniel Mathes: Oh, I think mine's fallen off. Bryan Heard: It fell That's why. Dewey Sellers: I guess it's gonna be hard to drink coffee. Mm. Uh okay. Bryan Heard: Ah. Joseph Striplin: Okay? Right, so I'm just gonna start this PowerPoint real quick. Daniel Mathes: Wow. Joseph Striplin: Yeah, PowerPoint. Dewey Sellers: Very official. Joseph Striplin: Yeah, well, you know, Joseph Striplin: 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 Dewey Sellers: You're just Joseph Striplin: y Dewey Sellers: gonna Joseph Striplin: is Dewey Sellers: believe Dewey Sellers, we'll go from there. Joseph Striplin: Exactly. Dewey Sellers: Fair enough. Joseph Striplin: 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 Dewey Sellers: Prove it yeah, Joseph Striplin: yeah yeah exactly Dewey Sellers: okay. Joseph Striplin: 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? Daniel Mathes: Oh yeah, that's fine. Bryan Heard: Sure. Dewey Sellers: Works for Dewey Sellers. Joseph Striplin: Sweet. Cool. So I guess that that we're totally we're making a remote control which is Daniel Mathes: Right. Joseph Striplin: 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 Daniel Mathes hey Bryan Heard: Mm. Joseph Striplin: right on Dewey Sellers: There Joseph Striplin: alright, Dewey Sellers: you go. Joseph Striplin: getting into it um to guide Dewey Sellers 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 Dewey Sellers 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 Dewey Sellers: I'm Sarah, I went to Michigan, and I'm here doing cultural studies and I'm the Marketing Manager or something. Marketing, Joseph Striplin: Expert Dewey Sellers: Expert. Joseph Striplin: Don't Dewey Sellers: Expert. Joseph Striplin: play yourself down. Dewey Sellers: Fine. Joseph Striplin: Expert Dewey Sellers: That's Dewey Sellers. Bryan Heard: I'm Ron. I uh once upon a time studied in Victoria and I am Bryan Heard. Daniel Mathes: I'm Nathan, I'm from California, and I'm here doing a Masters degree in social anthropology. Joseph Striplin: Where did you go to uni Nathan? Daniel Mathes: U_C_L_A_. Joseph Striplin: Oh brilliant. Daniel Mathes: Yeah. Joseph Striplin: Cool. My little brother goes there. Daniel Mathes: Okay. Joseph Striplin: Right so desert island Dewey Sellers: So. Joseph Striplin: discs. Yeah. Dewey Sellers: So do we have to wait for you to write it down or are you gonna tell us? Joseph Striplin: Well Dewey Sellers: I'm Joseph Striplin: I'll t Dewey Sellers: waiting Joseph Striplin: i Dewey Sellers: to Joseph Striplin: no Dewey Sellers: know. Joseph Striplin: 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 Dewey Sellers: Uh Joseph Striplin: guys are, I'm assuming everybody likes music to some lesser or greater extent but Dewey Sellers: Fair Joseph Striplin: there's Dewey Sellers: enough. Joseph Striplin: some other options, if you're a T_V_ slut like I am like Smallville terrible television Dewey Sellers: Oh, Joseph Striplin: show but I Dewey Sellers: Smallville. Joseph Striplin: happen to love it, it's rubbish but I love Dewey Sellers: I Joseph Striplin: it. Dewey Sellers: went to high school with Tom Willing actually. Joseph Striplin: T the the main c the Dewey Sellers: The Joseph Striplin: main Dewey Sellers: guy. Joseph Striplin: character? Wow. Dewey Sellers: Yeah. Joseph Striplin: Is he a wanker? Dewey Sellers: Yeah. Very much so. Hell of a soccer player but a total bastard nonetheless. Joseph Striplin: He looks really tall, like he's gotta Dewey Sellers: Yeah. Joseph Striplin: be like six six. Dewey Sellers: He is a big guy. Joseph Striplin: Yeah. Dewey Sellers: Yeah. Joseph Striplin: Um okay so I really like Jeff Buckley. You guys heard of Jeff Buckley? Dewey Sellers: Mm-hmm. Daniel Mathes: Mm-hmm. Joseph Striplin: 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 Dewey Sellers: Good call. Joseph Striplin: Okay so it really works just like a pen only makes noises I think. It's kinda weird. Anyway Dewey Sellers: Interesting. Joseph Striplin: 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. Dewey Sellers: I guess I'll go next then. Bryan Heard: Go Joseph Striplin: Right Bryan Heard: for Joseph Striplin: on. Bryan Heard: it. Dewey Sellers: Okay. Don't wanna lose all my mikes, plugged in here. Okay. This is basically just pen practice huh? Joseph Striplin: W Dewey Sellers: Okay. Oh you're much taller than Dewey Sellers 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, Joseph Striplin: Mm. Dewey Sellers: local Michigan folk singer, Joseph Striplin: Nice. Daniel Mathes: Wow. Dewey Sellers: really lame and uh uh what else did I bring with Dewey Sellers? Probably classical, to totally geek Joseph Striplin: Okay Dewey Sellers: it out, Joseph Striplin: yeah yeah. Dewey Sellers: yeah I think. And my family guy D_V_D_s Joseph Striplin: Well Dewey Sellers: but Joseph Striplin: yeah. Dewey Sellers: we don't need to write that one down. Joseph Striplin: Oh, family Dewey Sellers: So Joseph Striplin: guy. Isn't h has Dewey Sellers: yeah. Joseph Striplin: h do you watch the new season? Dewey Sellers: No. Are you getting it online, or is it Joseph Striplin: I Dewey Sellers: on Joseph Striplin: think I'm gonna Dewey Sellers: sky? Joseph Striplin: start downloading it yeah. Dewey Sellers: Yeah, that'd be nice. Bryan Heard: Alright. Think I'm just gonna put down one uh one C_D_. Bryan Heard: Anybody? Joseph Striplin: Mm-mm. Daniel Mathes: No. Bryan Heard: No? Dewey Sellers: 'Fraid Bryan Heard: no? Dewey Sellers: not. Bryan Heard: Afro beat orchestra, very cool. Joseph Striplin: Afro beat orchestra? Bryan Heard: Yeah. Joseph Striplin: Very Dewey Sellers: Mm. Joseph Striplin: cool. Bryan Heard: Fift Daniel Mathes: Sounds Joseph Striplin: Mm. Bryan Heard: S Daniel Mathes: nice. Bryan Heard: they like fifteen members from Brooklyn. I'm hoping to go to the concert in Belgium, in Brussels in Joseph Striplin: Wow. Dewey Sellers: Exciting. Bryan Heard: April first. Yeah. It's supposed to be Dewey Sellers: That'd Bryan Heard: in Brussels Dewey Sellers: be. Bryan Heard: anyways. Um thing I love about Edinburgh Dewey Sellers: Oh. I didn't even read those. Oops. I shouldn't admit Joseph Striplin: That's Dewey Sellers: that. Joseph Striplin: what a PowerPoint presentation Daniel Mathes: Oh, Joseph Striplin: is for. It's Daniel Mathes: wow. Joseph Striplin: they're designed specifically to ignore. I Dewey Sellers: Yeah. Joseph Striplin: it's th brilliant. Dewey Sellers: It's the five by five, I can't read that much. Joseph Striplin: Ah yes yes yes okay I see that. Vomit. Yes. Dewey Sellers: Yeah oh Joseph Striplin: Street pizza. It's so brilliant. Bryan Heard: Love Dewey Sellers: it's so horrible. Bryan Heard: um Joseph Striplin: I've seen more urine in this city Dewey Sellers: Oh Joseph Striplin: than Dewey Sellers: my Joseph Striplin: ever Dewey Sellers: God. Joseph Striplin: before, I Dewey Sellers: Seriously? Joseph Striplin: mean Bryan Heard: I just came from Glasgow and I'm um happy to say that Daniel Mathes: There's Bryan Heard: there's Daniel Mathes: more Bryan Heard: the Daniel Mathes: vomit Bryan Heard: there's Daniel Mathes: there. Bryan Heard: the same quantity approximately. Um. Joseph Striplin: It's Bryan Heard: I w Joseph Striplin: so minging. Dewey Sellers: It really Joseph Striplin: Uh. Dewey Sellers: is Bryan Heard: Does uh yeah. Ready? Daniel Mathes: Alright. Yep. Bryan Heard: Minging? Nice. Dewey Sellers: Yeah. Joseph Striplin: I'm going Dewey Sellers: Slide Joseph Striplin: local. Dewey Sellers: it in there. Joseph Striplin: Going Dewey Sellers: Yeah. Joseph Striplin: local. I have to be here for three years so I might Dewey Sellers: Yeah Joseph Striplin: as Dewey Sellers: fair Joseph Striplin: well get Dewey Sellers: enough. Joseph Striplin: the terminology right. Dewey Sellers: 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 Joseph Striplin: Oh, Dewey Sellers: into one of those people, Joseph Striplin: have you been home yet? Dewey Sellers: no. Joseph Striplin: They'll be like, say something British, and you're like Dewey Sellers: I Joseph Striplin: oh shut Dewey Sellers: know. Joseph Striplin: up family. Dewey Sellers: I Bryan Heard: Uh-huh. Dewey Sellers: know. Daniel Mathes: Um Dewey Sellers: Oh it should be interesting. Wait until I Daniel Mathes: Let's Dewey Sellers: tell them I'm Daniel Mathes: see. Dewey Sellers: not coming back. They're gonna love that one. Joseph Striplin: Right you s you're gonna stay here? Dewey Sellers: Probably. Or at Joseph Striplin: Wow. Dewey Sellers: least get a work visa for a while and then decide. 'Cause Joseph Striplin: Bad Bryan Heard: Nice. Joseph Striplin: religion? Daniel Mathes: Yeah, Dewey Sellers: nice. Daniel Mathes: up listening to. Dewey Sellers: Of Joseph Striplin: Yeah Dewey Sellers: course. Joseph Striplin: yeah, yeah. Dewey Sellers: Oh, Daniel Mathes: And Dewey Sellers: now I can think of so Daniel Mathes: so Dewey Sellers: many other Daniel Mathes: there Dewey Sellers: ones. Joseph Striplin: Well yeah that's why Dewey Sellers: That's how it works. Joseph Striplin: yeah. Daniel Mathes: Something I miss about my hometown. Joseph Striplin: I miss coffee. Daniel Mathes: Burritos Dewey Sellers: Mm. Bryan Heard: Nice. Joseph Striplin: Burritos. Dewey Sellers: Oh Daniel Mathes: that cost less than Joseph Striplin: Oh yeah two two Dewey Sellers: Any Daniel Mathes: eight Joseph Striplin: bucks. Daniel Mathes: Pounds. Dewey Sellers: thing that are like free. Joseph Striplin: Where are you from in California by the way? Daniel Mathes: I grew up in San Diego, but Joseph Striplin: Did you really? What Daniel Mathes: yeah Joseph Striplin: part? Daniel Mathes: um La Jolla, P_B_. Joseph Striplin: Yeah I'm from San Diego as well. Dewey Sellers: Nice. Joseph Striplin: Yeah oh Daniel Mathes: But Joseph Striplin: man. Daniel Mathes: 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. Joseph Striplin: 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. Daniel Mathes: It's different. 'Cause in San Diego th the tortillas are cooked on the grill and in northern California they steam them. Dewey Sellers: It must make all the difference. Daniel Mathes: Yeah, it really does. Joseph Striplin: Well it's it's i there's other things too there's you just can't Dewey Sellers: Ah. Joseph Striplin: 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 Daniel Mathes: Mm. Joseph Striplin: and yeah it's like two bucks, like literally two bucks for this massive Dewey Sellers: Right. Joseph Striplin: I miss yeah good call on that. Daniel Mathes: Yeah. Where you from in Dewey Sellers: Mm. Daniel Mathes: San Diego? Joseph Striplin: Um just literally just metropolitan San Diego, I live like five minutes from the zoo. Daniel Mathes: Okay. Joseph Striplin: So North Park actually if you want to get real Daniel Mathes: Yeah, Joseph Striplin: specific. Daniel Mathes: my grandparents lived on um thirty second. Joseph Striplin: Yep. Daniel Mathes: Close t uh do you know where Clare de Lune coffee shop Joseph Striplin: Yes. Daniel Mathes: is, and Joseph Striplin: On university, yeah. Daniel Mathes: Cafe Forte Joseph Striplin: Yeah it's actually like literally half a mile from my house. Daniel Mathes: Cool. Joseph Striplin: Yeah, pretty cool. Small world Daniel Mathes: Yeah. Joseph Striplin: as we were discussing before. Especially when we're all from the same general region. Right so okay, success on the whiteboard. Dewey Sellers: There you Joseph Striplin: You can harness Dewey Sellers: go. Joseph Striplin: the awesome power Daniel Mathes: Wow. Joseph Striplin: 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 Dewey Sellers, 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 Dewey Sellers. Dewey Sellers: Mm. Joseph Striplin: 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. Daniel Mathes: Okay. Joseph Striplin: Um so something that could do Dewey Sellers: Makes Joseph Striplin: N_T_S_C_ Dewey Sellers: sense. Joseph Striplin: as well as PAL as well as various other formats like if it's gonna control D_V_D_s Dewey Sellers: Uh. Joseph Striplin: 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 Dewey Sellers: What Joseph Striplin: want. Dewey Sellers: they're looking for. Joseph Striplin: 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 Dewey Sellers: And negotiate Joseph Striplin: so Dewey Sellers: that. Joseph Striplin: yeah well it is Dewey Sellers: Uh. Joseph Striplin: 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? Bryan Heard: I assume that we're building a stand alone uh remote control, we can't kind of build it into other uh products. Joseph Striplin: You mean to like Bryan Heard: For instance like a mobile phone or something Daniel Mathes: Mm. Bryan Heard: like that. Joseph Striplin: Hmm. Daniel Mathes: Sounds interesting. Joseph Striplin: Yeah. Dewey Sellers: I don't think there's any rules about it yet. So Daniel Mathes: Maybe our personal coach will Dewey Sellers: Yeah. Bryan Heard: Or or Daniel Mathes: have something Bryan Heard: you know Daniel Mathes: to say about Bryan Heard: can Daniel Mathes: that. Bryan Heard: we produ can we sell a remote control phone for twenty five pounds or less? Joseph Striplin: Well, Dewey Sellers: Mm. Joseph Striplin: have a think about it. I mean Bryan Heard: Yep. Okay. Joseph Striplin: I'm I'm certainly op it seems like yeah it Dewey Sellers: W Joseph Striplin: it seems like Dewey Sellers: yeah. Joseph Striplin: 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 Bryan Heard: Mm-hmm. Daniel Mathes: Yeah. Joseph Striplin: function. The clapper. No I mean no, good idea, good idea. We'll see what Daniel Mathes: Maybe Joseph Striplin: see what Daniel Mathes: a remote with changeable faces, like the faces that you can buy for phones. Dewey Sellers: I like Bryan Heard: Nice. Dewey Sellers: the Joseph Striplin: Uh-huh Dewey Sellers: little cover Daniel Mathes: Yeah. Dewey Sellers: thingies. Joseph Striplin: y I like that Bryan Heard: Hot. Joseph Striplin: 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 Dewey Sellers bring up something about our basic goals here, what we want to accomplish. Uh project announcement. Ts ts ts Joseph Striplin: Yeah. Not so much. Dewey Sellers: Hmm. Joseph Striplin: All right we'll find them, we're on our own. Bryan Heard: Now are we also discussing kind of our initial ideas at all Joseph Striplin: Yeah Bryan Heard: here? Joseph Striplin: yeah let's do it, let's do. Bryan Heard: S does anybody have any initial ideas? Joseph Striplin: I'm gonna go ahead and take notes on this too 'cause Dewey Sellers: Good idea. Start your minutes. Joseph Striplin: Yeah I mean Dewey Sellers: Um Joseph Striplin: oh yeah right. So initial ideas. Dewey Sellers: Well it's pretty much given it's gonna be universal right, Joseph Striplin: Yeah. Dewey Sellers: 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 Daniel Mathes: Yeah. Dewey Sellers: 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 Daniel Mathes: S Dewey Sellers: can't tell Joseph Striplin: Mm-hmm. Dewey Sellers: what they do. Daniel Mathes: smaller's better. Simple. Dewey Sellers: Yeah. Bryan Heard: But I'm thinking Dewey Sellers: Specific. Bryan Heard: I'm thinking kind of P_D_A_ uh design so touch screen design rather Dewey Sellers: Okay. Bryan Heard: than button Daniel Mathes: Oh Bryan Heard: so Daniel Mathes: right. Bryan Heard: that you Daniel Mathes: That'd Bryan Heard: can Daniel Mathes: be different. Bryan Heard: kind Dewey Sellers: Interesting. Bryan Heard: of flip around all sorts of different things. Joseph Striplin: Yeah that's slick isn't it. I mean like stylist yeah like a just Dewey Sellers: True. Joseph Striplin: 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 Dewey Sellers: Mm. Joseph Striplin: uh size and functionality. Dewey Sellers: Mm. Joseph Striplin: Um Dewey Sellers: Right. Joseph Striplin: and Dewey Sellers: We Joseph Striplin: we Dewey Sellers: want Joseph Striplin: also Dewey Sellers: it to be munt multifunctional but at the same time if you get it to do too much you're not gonna be Daniel Mathes: Yeah. Dewey Sellers: able to Bryan Heard: Too Dewey Sellers: tell Bryan Heard: confusing. Dewey Sellers: them apart, Daniel Mathes: It's Dewey Sellers: that Daniel Mathes: gonna be Dewey Sellers: whole Daniel Mathes: too complicated, Dewey Sellers: yeah. Daniel Mathes: too crowded with buttons and things. Joseph Striplin: I'm also gonna note Dewey Sellers: Hmm. Joseph Striplin: for future reference this idea of um so you like maybe like an L_ like a touch screen type of remote? Bryan Heard: Mm-hmm. Dewey Sellers: Mm. Bryan Heard: Possibly. Joseph Striplin: I don't think one exists. Dewey Sellers: An interesting option. Joseph Striplin: Be a Daniel Mathes: Needs Joseph Striplin: good idea. Daniel Mathes: it needs one outstanding Dewey Sellers: Yeah. Daniel Mathes: feature to set it apart from all the Dewey Sellers: Definitely. Daniel Mathes: other remotes. Joseph Striplin: 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 Dewey Sellers: Right. Bryan Heard: I'm pretty sure there is. I mean I Joseph Striplin: Okay. Bryan Heard: I have a friend who has a P_D_A_ Joseph Striplin: Okay. Bryan Heard: that he just Dewey Sellers: That Bryan Heard: points at his telev any television he wants and Dewey Sellers: Yeah. Bryan Heard: it'll figure out the the specifications of it and will control it Joseph Striplin: Interesting. Dewey Sellers: Awesome. Bryan Heard: um Joseph Striplin: Okay. Bryan Heard: so I th I assume that that can be done with uh kind Dewey Sellers: Yeah. Joseph Striplin: Okay. Bryan Heard: of around the world. Joseph Striplin: Okay. Um all right. So. I li I'm liking that idea, this idea of a touch screen remote with multi-format features. Dewey Sellers: Mm-hmm. Joseph Striplin: Um. Daniel Mathes: Right. Joseph Striplin: Um. Let's see. Daniel Mathes: I think, making it out of a nice material would be very important, because so many of those remotes that you see, these universal Dewey Sellers: Yeah. Daniel Mathes: remotes look so cheap and Joseph Striplin: Mm. Daniel Mathes: low quality. Dewey Sellers: 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 Daniel Mathes: Mm. Dewey Sellers: business is only one more thing to lose, so we're gonna have to be careful with Bryan Heard: Oh. Dewey Sellers: what like Just something like keep in mind when we start actually dealing with this stuff but that would be really cool. Joseph Striplin: Uh let's see. Um. Bryan Heard: I like the idea of the uh multi plate. Joseph Striplin: Yeah Dewey Sellers: Yeah. Joseph Striplin: yeah okay. Dewey Sellers: Fi Bryan Heard: In Dewey Sellers: b like what Bryan Heard: in Dewey Sellers: are they called, those face plate things? Isn't Joseph Striplin: Think Dewey Sellers: there Joseph Striplin: they're Dewey Sellers: a Joseph Striplin: just Dewey Sellers: name Joseph Striplin: called Dewey Sellers: for them? Joseph Striplin: face plates? Dewey Sellers: Are they? Joseph Striplin: I don't know. Daniel Mathes: something, Dewey Sellers: I dunno. Daniel Mathes: uh Bryan Heard: I like. Daniel Mathes: we'll have to come up with a name, Bryan Heard: We Daniel Mathes: patent Bryan Heard: should Dewey Sellers: Yeah. Bryan Heard: c Daniel Mathes: it. Bryan Heard: we should come Dewey Sellers: Something Bryan Heard: up with Dewey Sellers: really Bryan Heard: a fuzzy Dewey Sellers: cool. Bryan Heard: one as well. For Dewey Sellers: Leopard Bryan Heard: those cold Dewey Sellers: print Daniel Mathes: Leopard Bryan Heard: winter Dewey Sellers: or something. Daniel Mathes: print. Bryan Heard: days. Joseph Striplin: Um. Dewey Sellers: Hmm. Daniel Mathes: 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. Dewey Sellers: True. Joseph Striplin: Mm. But if we're bundling it unless we're selling their telly with the remote. Dewey Sellers: Right. Daniel Mathes: Mm. Joseph Striplin: Um Bryan Heard: Well if we bundle it as a phone then you can always call it. Daniel Mathes: True. Bryan Heard: If you're Dewey Sellers: True. Bryan Heard: 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 Dewey Sellers: Right. Bryan Heard: little bit annoying. Joseph Striplin: 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 Bryan Heard: Th Joseph Striplin: like Dewey Sellers: Right. Joseph Striplin: how on a lot of um uh cordless regular Bryan Heard: Yeah. Joseph Striplin: phones, Daniel Mathes: Yeah. Joseph Striplin: you have a page button and it goes, Dewey Sellers: Right. Joseph Striplin: could we do something like that? Bryan Heard: That's cool. Daniel Mathes: I think Dewey Sellers: Probably. Daniel Mathes: so. Bryan Heard: I think we could design into Daniel Mathes: Yeah. Bryan Heard: that. Dewey Sellers: Good. Joseph Striplin: 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 Dewey Sellers: Mm. Joseph Striplin: this surgical white kind of business or this Dewey Sellers: Yeah. Joseph Striplin: sleek kind of Dewey Sellers: And Daniel Mathes: Mm. Joseph Striplin: you Dewey Sellers: that Joseph Striplin: know Dewey Sellers: titanium the new silver sleek ones that's last couple of years, Joseph Striplin: Yeah. Dewey Sellers: very much so. Bryan Heard: Curves. Dewey Sellers: Mm. Joseph Striplin: 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 Dewey Sellers: Right. Joseph Striplin: 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 Dewey Sellers: Right. Joseph Striplin: remote that's black Daniel Mathes: Yeah. Joseph Striplin: and you know m massive, some kind of Dewey Sellers: Mm. Joseph Striplin: I dunno a balance there in somewhere. Dewey Sellers: Definitely. Joseph Striplin: But um have a think about what we can do, have a think about what we want to do, Dewey Sellers: Yeah. Joseph Striplin: how we're gonna sell it and Dewey Sellers: Or if Joseph Striplin: um Dewey Sellers: 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, Daniel Mathes: Yeah. Dewey Sellers: and Joseph Striplin: Mm. Dewey Sellers: who we're gonna be able to get it out of. Daniel Mathes: 'S true. Dewey Sellers: But Bryan Heard: We're talking twenty five Pounds or twenty five Euros? Joseph Striplin: Twenty five Dewey Sellers: Euros. Joseph Striplin: Euros. Bryan Heard: Slight difference I guess. Joseph Striplin: Yeah. They're all weaker than they're all stronger than the Dollar. Dewey Sellers: Mm. Joseph Striplin: 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 Bryan Heard: No. Joseph Striplin: computer Dewey Sellers: Mm-mm. Joseph Striplin: uh electronics store? They serve um right they sa tha s they will sell things overseas so Dewey Sellers: Mm. Joseph Striplin: 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 Dewey Sellers: Okay. Joseph Striplin: um the Daniel Mathes: Okay. Joseph Striplin: 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. Dewey Sellers: half an hour? Joseph Striplin: Um. Yes. Dewey Sellers: 'Kay. Perfect. Joseph Striplin: Thanks guys. Dewey Sellers: Cool. Bryan Heard: Thank you. Daniel Mathes: Alright.

Joseph Striplin 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. Joseph Striplin discussed the financial goals of the project, including the projected profit aim and price point for the device. Joseph Striplin gave each participant their assignments. The group then began a discussion of their initial ideas about the remote control and possible features. Joseph Striplin announced that he would make a report containing the discussion of the group's initial ideas about the device.

amisum

train

David Dahle: 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_, Cecil Morris: Okay. David Dahle: 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 Guadalupe Barajas uh to go ahead and make a presentation on Guadalupe Barajas: Okay. So do I unplug Cecil Morris: Gotta David Dahle: Oh, Cecil Morris: plug David Dahle: right yeah. Cecil Morris: you in. Guadalupe Barajas: this bit here? David Dahle: Yep. David Dahle: Might have to hit function F_ eight but it looks like it's gonna come up. Yep. Cool. Guadalupe Barajas: Okay. Right. That's page one of my presentation. David Dahle: Brilliant. Cecil Morris: Very nice For. your first PowerPoint it's lovely. Guadalupe Barajas: 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. David Dahle: 'Kay. Guadalupe Barajas: 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. David Dahle: Mm. Guadalupe Barajas: 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. David Dahle: 'Kay. Guadalupe Barajas: Uh PAL David Dahle: Fair enough. Guadalupe Barajas: and N_T_S_C_ compatible and uh probably a two hundred foot range. David Dahle: 'Kay. Guadalupe Barajas: 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 Cecil Morris: Fine. Guadalupe Barajas: 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 David Dahle: 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 Guadalupe Barajas: Right. David Dahle: ones Cecil Morris: It David Dahle: they Cecil Morris: needs, David Dahle: use a Cecil Morris: yeah. David Dahle: a pretty nice, you can do i is there some kind of nice colo der quality plastic that we can work with? Guadalupe Barajas: 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 David Dahle: Okay, Guadalupe Barajas: us to do. David Dahle: okay. Cecil Morris: Cool. Guadalupe Barajas: That's David Dahle: Great. Guadalupe Barajas: the end of my presentation. David Dahle: 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. David Dahle: Mm. Um hit function F_ eight real quickly, hold down Mm. Cecil Morris: Looks like you're in okay. Guadalupe Barajas: Is it plugged in well? There it goes. Computer Patrick Branson: Th Guadalupe Barajas: adjusting. Cecil Morris: There you go. David Dahle: There you go. Sweet. Patrick Branson: 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 David Dahle: Yeah Patrick Branson: uh David Dahle: sorry I Patrick Branson: that David Dahle: couldn't get that g to use before. Patrick Branson: that's no problem. Um so some of my findings. Um basically wanna send messages uh to a television set. Patrick Branson: 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 David Dahle: Oh yeah Patrick Branson: see David Dahle: look Patrick Branson: my David Dahle: at Patrick Branson: red David Dahle: that. Guadalupe Barajas: Mm. Patrick Branson: 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 David Dahle: Mm-hmm. Patrick Branson: 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 David Dahle: Nice. Patrick Branson: 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. David Dahle: Okay. Patrick Branson: Just incorporating some of the ideas that we had previously like uh having multiple face but it's uh. David Dahle: Great. Thanks for that Ron. Cecil Morris: Right. Does that mean I'm David Dahle: 'Kay Cecil Morris: up? David Dahle: yep that's you. Cecil Morris: I think so. Okay. Patrick Branson: I can plug you in. Cecil Morris: Oh that would be perfect. Thank you. Slide show up and running. Or not. David Dahle: Give it a little Cecil Morris: Uh. David Dahle: bit. Cecil Morris: Oh there we go. Perfect. Okay. So this is Cecil Morris. 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. David Dahle: That's great. Thank you Sarah. Right. Cecil Morris: Need to unplug David Dahle: So Cecil Morris: this? David Dahle: um yep I'll just uh switch that Cecil Morris: Need it David Dahle: back Cecil Morris: back. David Dahle: here. I'll finish up with just a bit of discussion Cecil Morris: There you go. David Dahle: plan on for the next phase. David Dahle: 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 Guadalupe Barajas 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, Cecil Morris: Oh right. David Dahle: 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. Cecil Morris: We're not catering to the pensioners of the world David Dahle: Yes. Cecil Morris: I don't think so. David Dahle: So maybe this we should look into this younger demographic. Um. Cecil Morris: Right. David Dahle: 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 Cecil Morris: Right. David Dahle: um, which might be easier given that we're going for simpler function and that we're Cecil Morris: Uh. David Dahle: 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 Cecil Morris: Right. David Dahle: it that way, you Guadalupe Barajas: Mm. David Dahle: 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. Cecil Morris: Yeah. Guadalupe Barajas: Right. I think it would be possible to uh combine the locator device and the voice recognition technology. David Dahle: Mm. Cecil Morris: Oh. That could work. I like that. Guadalupe Barajas: With a simple command like locate. Cecil Morris: Yeah. Guadalupe Barajas: And then Cecil Morris: Something very basic. Guadalupe Barajas: it could start to beep Cecil Morris: Right. Guadalupe Barajas: and David Dahle: Right. Guadalupe Barajas: therefore be found. Patrick Branson: Sounds Cecil Morris: Is that only Patrick Branson: good. Cecil Morris: gonna be within our two hundred foot range then? Guadalupe Barajas: Oh yeah I think that's Cecil Morris: Okay. Guadalupe Barajas: very doable. David Dahle: 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 Guadalupe Barajas: Mm. David Dahle: a voice Cecil Morris: Yeah. David Dahle: from far away Guadalupe Barajas: It's a good point. David Dahle: 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. Patrick Branson: A little Cecil Morris: Mm. Patrick Branson: sticky pad to stick on top of your uh television. And Cecil Morris: Yeah. Patrick Branson: you just say something to into that and it David Dahle: Yeah. Guadalupe Barajas: Yeah. Patrick Branson: finds Cecil Morris: K Patrick Branson: your David Dahle: Or an isolated magnet or something like, or you know something that wouldn't interfere I don't know that'd Cecil Morris: Yeah. David Dahle: be the technical thing but yeah I like that, I like that, the voice recognition for the paging system. Patrick Branson: 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 Cecil Morris: True. Patrick Branson: and the older market. And the younger market could use kind of the voi voice control method and the older market Cecil Morris: Making Patrick Branson: might Cecil Morris: it just Patrick Branson: might Cecil Morris: an option? Patrick Branson: k Guadalupe Barajas: Mm. Patrick Branson: exactly Cecil Morris: Yeah. Patrick Branson: and might consider the older market could use the simpler design with Cecil Morris: Right. Patrick Branson: the traditional buttons and what not. Guadalupe Barajas: I David Dahle: Yeah. Guadalupe Barajas: was thinking Cecil Morris: Are we still Guadalupe Barajas: uh Cecil Morris: thinking about this screen sorry. Guadalupe Barajas: Oh Cecil Morris: Go Guadalupe Barajas: go Cecil Morris: ahead. Guadalupe Barajas: ahead. Cecil Morris: The uh if we're gonna do this touch pad screen thing, it would be David Dahle: Mm-hmm. Cecil Morris: still, do we know if that's an option technically right Patrick Branson: 'S Cecil Morris: now Patrick Branson: definitely Cecil Morris: to that? Patrick Branson: an option technically. Cecil Morris: Okay. Patrick Branson: I've looked into uh costs of uh touch screen methods Cecil Morris: Okay. Patrick Branson: and what not, they seem to be uh you know almost Cecil Morris: We're doing okay. Patrick Branson: as cheap as a button method at this point. Cecil Morris: 'Cause David Dahle: Okay. Cecil Morris: 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 David Dahle: Mm. Cecil Morris: menu Guadalupe Barajas: Yeah. Cecil Morris: 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. Guadalupe Barajas: 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 David Dahle: Mm-hmm. Guadalupe Barajas: fifty Cecil Morris: True. Guadalupe Barajas: Euro you Cecil Morris: Worth Guadalupe Barajas: know Cecil Morris: looking Guadalupe Barajas: goal Cecil Morris: into. Guadalupe Barajas: for selling these things. David Dahle: Mm-hmm. Guadalupe Barajas: It Cecil Morris: Yeah. Guadalupe Barajas: seems David Dahle: Mm-hmm. Guadalupe Barajas: 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 Cecil Morris: True. David Dahle: Okay. Guadalupe Barajas: the the whole mechanism. Cecil Morris: Yeah. Guadalupe Barajas: So David Dahle: Okay. Guadalupe Barajas: it's just something to consider. David Dahle: 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 Cecil Morris: Mm-hmm. David Dahle: 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 Cecil Morris: Mm. David Dahle: many, we'd more or less be cornering the market on it as well, we don't have many um. Cecil Morris: Yeah. David Dahle: 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? Patrick Branson: Um I'm not sure that's sincerely correct, I think David Dahle: Okay. Patrick Branson: 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 Cecil Morris: Mm. Patrick Branson: are interchangeable. David Dahle: Okay. Cecil Morris: Just the casing. Patrick Branson: We could have the casing, the the face plates. David Dahle: Okay. Guadalupe Barajas: 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 Cecil Morris: Mm. Guadalupe Barajas: three or four face plates, it's gonna drive the cost up. David Dahle: Mm. Guadalupe Barajas: And Cecil Morris: Yeah. Guadalupe Barajas: 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 Cecil Morris: Right. Guadalupe Barajas: See David Dahle: Okay. Guadalupe Barajas: if there if there's even interest out there. David Dahle: Okay. Right. Guadalupe Barajas: Off the top of my head it sounds kind of like a gimmick that wouldn't really go anywhere. David Dahle: Yeah 'cause then ha you Cecil Morris: Mm. David Dahle: 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 Cecil Morris: Right. Guadalupe Barajas: Yeah. David Dahle: be just our model of pho of t remote control. Cecil Morris: Well in the publicity of a face plate on a phone is you have it out and around, it is sort of emblematic whereas David Dahle: Mm-hmm. Cecil Morris: you're just sit at home, so unless somebody comes David Dahle: Mm. Cecil Morris: over David Dahle: Mm-hmm. Cecil Morris: to watch T_V_ David Dahle: Yeah. Patrick Branson: Well hopefully some people have people coming t over to w Cecil Morris: True. Patrick Branson: to hang out at Cecil Morris: True. Patrick Branson: your house and most people Cecil Morris: True. Patrick Branson: have their televisions in the living room. Uh. David Dahle: Alright well we can Cecil Morris: Yeah. David Dahle: we can discuss that one further when we think about Cecil Morris: Oh yeah. David Dahle: um whether th when we do costs Patrick Branson: Sure. David Dahle: 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? Patrick Branson: Well have we confirmed that we're gonna go ahead with a uh touch screen um David Dahle: Yeah yeah Patrick Branson: Interface? David Dahle: okay. Um Yeah I think that would be best. Let's based on what sh on what you guys have all said to Cecil Morris 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 Cecil Morris that if we have a touch screen people are going to have to recharge their remote controls. Yet Cecil Morris: True. David Dahle: at the same time that might help for this whole complaint of it being lost. Cecil Morris: 'Cause it would have a docking base? David Dahle: Mm-hmm. But then again that costs as well. Cecil Morris: Yeah. David Dahle: Hmm. Patrick Branson: So these new lithium batteries they last twenty years even with the touch screen? David Dahle: Do they? Patrick Branson: Those David Dahle: Okay. Patrick Branson: new ones. Cecil Morris: Can we afford Guadalupe Barajas: Can we Cecil Morris: that? Guadalupe Barajas: afford to include one of those? Cecil Morris: And will somebody buy it if we don't? David Dahle: 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 Cecil Morris: Right. David Dahle: 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 Cecil Morris: For twelve Euros? David Dahle: Yeah well hey you know well it's it's worth looking into, if not we can always Cecil Morris: It is. David Dahle: default to just doing a a well Cecil Morris: Fair enough. David Dahle: presented plastic simple you know so Cecil Morris: The David Dahle: you Cecil Morris: basics. David Dahle: 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 Cecil Morris: Mm. David Dahle: you know go through menu um w we'll do the aesthetics. Okay so we'll touch screen and the battery, Cecil Morris: 'Kay. David Dahle: 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, Guadalupe Barajas: Right. David Dahle: 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 Guadalupe Barajas: Okay. David Dahle: a beep. Um right so any comments? Thoughts before we break into go into the next round of individual work on this. Guadalupe Barajas: 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. Patrick Branson: Be interesting. Cecil Morris: Mm. Guadalupe Barajas: What what would be on that touch screen? 'Cause you said earlier that we have to think about company colours and um logo or Cecil Morris: And Guadalupe Barajas: something or motto, Cecil Morris: oh. Guadalupe Barajas: I can't remember exactly Cecil Morris: Yeah the Guadalupe Barajas: what you said. Patrick Branson: We put fashion Cecil Morris: the fashion Patrick Branson: into Cecil Morris: do. Patrick Branson: electronics. Cecil Morris: Yeah. David Dahle: 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 Cecil Morris: Right, and then you're David Dahle: into Cecil Morris: dealing David Dahle: the remote Cecil Morris: with ports David Dahle: control. Cecil Morris: and cords and David Dahle: Yeah I think perhaps Guadalupe Barajas: 'S too much. David Dahle: good idea Cecil Morris: Yeah. David Dahle: 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 Cecil Morris: For now. David Dahle: 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? Guadalupe Barajas: Think we just need to come up with a nice black and red Cecil Morris: Yeah. Nice. Guadalupe Barajas: interface on the touch screen. That'd Patrick Branson: Yeah. Guadalupe Barajas: be okay. Patrick Branson: Uh I I'm I'm in agreement with that, I'm wondering Cecil Morris: Um. Patrick Branson: how we're gonna get uh we put fashion into electronics Cecil Morris: Well but Patrick Branson: onto Cecil Morris: if we're Patrick Branson: this Cecil Morris: gonna Patrick Branson: device. Cecil Morris: use a touch screen where it's gonna come on like on your cell phone it'll have your David Dahle: Hmm. Cecil Morris: your carrier provider name come up first like while it's loading and then it goes away, perhaps it could be like a temporary David Dahle: Mm. Cecil Morris: Comes on every time you turn it on and then that's it 'cause it is a bit much to have it like engraved Guadalupe Barajas: Mm. Cecil Morris: on the back or David Dahle: Yeah. Cecil Morris: something Guadalupe Barajas: True. Cecil Morris: I think. David Dahle: Yeah. Patrick Branson: I'm hoping for a subliminal maybe half a millisecond Cecil Morris: Yeah. Patrick Branson: as it turns on. Cecil Morris: Y David Dahle: Yeah. Yeah I know I d it seems like it would suffice to have just the R_R_ on there. Patrick Branson: Mm-hmm. Cecil Morris: Yeah David Dahle: Jus Cecil Morris: you would think. But. David Dahle: But apparently not. Cecil Morris: If it Guadalupe Barajas: People Cecil Morris: comes David Dahle: So. Cecil Morris: from Guadalupe Barajas: aren't gonna Cecil Morris: above. Guadalupe Barajas: want their remote to boot up and to see flashing things come on. They just want it to be on and ready to go. Cecil Morris: Yeah. David Dahle: 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. Patrick Branson: Well David Dahle: Kind Patrick Branson: all David Dahle: of Patrick Branson: you David Dahle: if Patrick Branson: have to David Dahle: i Patrick Branson: do is touch the screen and it automatically Cecil Morris: Mm. David Dahle: Oh Patrick Branson: goes David Dahle: to wake Patrick Branson: on. David Dahle: up okay Patrick Branson: Yep. David Dahle: or go into like Patrick Branson: Goes David Dahle: a dormant Patrick Branson: into a David Dahle: mode. Patrick Branson: sleep mode. David Dahle: 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. Cecil Morris: We're David Dahle: Sounds Cecil Morris: good? David Dahle: 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. Patrick Branson: I've put my files in the shared folder as well. David Dahle: Brilliant. Cecil Morris: Yeah. David Dahle: That's fab guys. Cool.

David Dahle went over new requirements for the project: that the device was solely to control television, and that there would not be a teletext component. Guadalupe Barajas 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. Patrick Branson presented the technical functions of remote controls and compared the interfaces of two existing remote control products. Cecil Morris 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.

amisum

train

Vincent Williams: That went well, thank you. William Colon: That's great. Vincent Williams: Perfect. Brian Solis: 'Kay. William Colon: Alright, let Vincent Williams just PowerPoint this up. William Colon: Right so um this meeting will be about the conceptual design, don't ask Vincent Williams 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 Vincent Williams 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. Brian Solis: I'll go first. Vincent Williams: Go ahead. William Colon: Alright Nathan, take it away. William Colon: It is Nathan right? I'm not calling you the wrong name over Brian Solis: No William Colon: and over Brian Solis: Nathan's William Colon: again? Brian Solis: fine. William Colon: Good. Brian Solis: It's either Nathan or participant two. Alonzo Bell: Mister Brian Solis: Uh. Alonzo Bell: participant two that is. Vincent Williams: Nice. Brian Solis: Okay. William Colon: Nice. Brian Solis: 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 William Colon: Mm. Brian Solis: 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. William Colon: Hmm. Vincent Williams: Mm. Brian Solis: 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. William Colon: What kind of th thickness are we looking at? Brian Solis: 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. William Colon: Okay, Brian Solis: Yeah. William Colon: brilliant. Brian Solis: 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 William Colon: Hmm. Brian Solis: with that. Vincent Williams: Right. Brian Solis: Um and just a little note there, touch screen equals many chips which equals many Euro. Vincent Williams: Right. Nice. Brian Solis: 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. William Colon: Hmm. Brian Solis: So you Vincent Williams: Interesting. Brian Solis: 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 Vincent Williams: Mm. Brian Solis: like that. Vincent Williams: Good call. William Colon: M Maybe is there an option that we can have that off or on so a person can select like Vincent Williams: Choose Brian Solis: Yeah. Vincent Williams: it. Brian Solis: I am sure that we could do that. Um, of William Colon: Yeah Brian Solis: course William Colon: I like the idea, it's a good idea. Brian Solis: Yeah, just as a fun gimmick. William Colon: Yeah. Brian Solis: 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? Alonzo Bell: Interesting question. Brian Solis: 'S a bit of a challenge question. William Colon: Mm. Vincent Williams: Well Alonzo Bell: Yes. Vincent Williams: I'd say shop around but with our time constraints, is that really a feasible option? William Colon: Mm. Brian Solis: 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 Vincent Williams: Right. Brian Solis: 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. William Colon: Mm. Vincent Williams: Right. William Colon: Can we do marketing piloting too? Try to see what kind before we launch can we see Vincent Williams: Um William Colon: how they're received? Vincent Williams: It's an option, uh but actually there's I've got some research already on like what we're looking at and trends William Colon: Okay. Vincent Williams: in casing right now William Colon: Okay. Vincent Williams: which actually might even come into play beforehand, William Colon: Okay, Vincent Williams: it William Colon: perfect. Vincent Williams: may help us decide for now. William Colon: Great, thank Vincent Williams: Temporarily William Colon: you very much Vincent Williams: anyway. Brian Solis: Oh yeah, William Colon: Nathan. That's Brian Solis: you're William Colon: perfect, Brian Solis: welcome. William Colon: so I guess that makes sense for you to take it from here. Vincent Williams: I guess so, 'cause I found some interesting things. You William Colon: Fascinating, Vincent Williams: waiting Alonzo Bell: Did William Colon: compelling Alonzo Bell: you? Vincent Williams: for Vincent Williams? William Colon: even. Vincent Williams: 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, Brian Solis: Mm. Vincent Williams: 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 William Colon: Tomatoes. Vincent Williams: 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, Brian Solis: Mm. Vincent Williams: uh not Alonzo Bell: I Vincent Williams: something Alonzo Bell: like Vincent Williams: I Alonzo Bell: it, Vincent Williams: I've Alonzo Bell: I like Vincent Williams: come Alonzo Bell: it. Vincent Williams: 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 Brian Solis: Hmm. Vincent Williams: if you could do like um, leather options or wood options or something Brian Solis: I should have mentioned this um. As far as the rubber that we can use Vincent Williams: Mm-hmm. Brian Solis: we can use a rubber as part of the case, it has a consistency of those stress balls. Alonzo Bell: Yes. Vincent Williams: Mm. Might be an Alonzo Bell: Fabulous. Vincent Williams: interesting William Colon: Slick, Vincent Williams: way to go. William Colon: slick. Vincent Williams: 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 Brian Solis: Mm. Vincent Williams: option is our best way to go for right now. Um. William Colon: Interface, oh the interface graphics for Vincent Williams: Yeah. William Colon: the um Vincent Williams: Um. Well I d but then if the touch screen thing isn't William Colon: Yeah. Vincent Williams: gonna work out for us that's really a non-issue. Brian Solis: 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 William Colon: Mm. Brian Solis: matter. Vincent Williams: True. Brian Solis: 'Cause so many you go to so many houses these days and you see broken remote controls. Vincent Williams: Very true. William Colon: Yeah, Vincent Williams: Very Brian Solis: Taped William Colon: it's Vincent Williams: true. William Colon: like, Brian Solis: with duck tape William Colon: yep Brian Solis: and Vincent Williams: Very Brian Solis: what have Vincent Williams: much Brian Solis: you, Vincent Williams: so. Brian Solis: you wouldn't have that problem Vincent Williams: Um William Colon: it's Brian Solis: if William Colon: ubiquitous Brian Solis: you used rubber. Alonzo Bell: We can William Colon: isn't Alonzo Bell: have a William Colon: it? Alonzo Bell: duck tape casing. Vincent Williams: We could. I think that goes against the whole fancy something, a new line, but worth a shot. Alonzo Bell: It could go with the granola crowd. Vincent Williams: Ah, it could be, it could be, um. Yeah that's what I know. William Colon: Great, thanks for that Sarah. Vincent Williams: No problem. William Colon: Ron? Alonzo Bell: Phew. Alonzo Bell: 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. William Colon: Yeah Alonzo Bell: 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 Vincent Williams: Mm. Alonzo Bell: this for a coffee maker line William Colon: Lot of single people on the um on the re on the remote control Alonzo Bell: On the remote William Colon: research Alonzo Bell: control Vincent Williams: Yeah. William Colon: team at the Alonzo Bell: right. Vincent Williams: Very true, very true. Alonzo Bell: Um, another concept is what uh Apple has come up with, the spinning William Colon: Mm. Alonzo Bell: wheel with uh L_C_ display like on the uh iPod which I am sure most of you know about. Vincent Williams: Mm. Alonzo Bell: Um and then we have the scroll button with integrated push-button, kind William Colon: Mm. Alonzo Bell: of like a modern a bit Brian Solis: Mm. Alonzo Bell: bulky, a bit crazy, I don't think that's we're necessarily going for. Brian Solis: No. Alonzo Bell: 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 Vincent Williams: Hmm. Alonzo Bell: of remote controls here. Uh the jumbo universal remote control is almost impossible to misplace or William Colon: Yeah, Alonzo Bell: lose. William Colon: I can see. Alonzo Bell: 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 Vincent Williams: Okay. Alonzo Bell: 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 Vincent Williams: Mm, Alonzo Bell: change Vincent Williams: right. Alonzo Bell: 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 William Colon: Mm. Alonzo Bell: and uh the use of recognisable colours and shapes to aid recognition of the features um that are around so red for power, um Vincent Williams: Mm. Alonzo Bell: 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. Vincent Williams: Nice. William Colon: Great. Alonzo Bell: And uh that is about it. William Colon: Great, wonderful Ron, cool. Lot of good ideas, good facts to have. Vincent Williams: Mm. William Colon: 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 Brian Solis: Yeah. William Colon: connect Vincent Williams: Mm. William Colon: 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? Vincent Williams: 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. William Colon: 'Kay. 'Kay. Vincent Williams: But can we really afford it 'cause it looks like they would be, that would be a really main cost source then William Colon: Mm-hmm. Vincent Williams: right? Brian Solis: My estimate is that in order to incorporate touch screen technology it's gonna cost us upwards of seventeen fifty Euro William Colon: To produce Vincent Williams: Per? Brian Solis: per remote, William Colon: each one. Brian Solis: yeah that's just an estimate Vincent Williams: Piece. Brian Solis: though. Alonzo Bell: Oh you guys are always the dampers on these projects. Vincent Williams: I know William Colon: Mm. Alonzo Bell: You industrial designers. Brian Solis: I know. It's William Colon: Hmm. Brian Solis: fun. Vincent Williams: And our goal was to be under twelve fifty or we have to be under twelve fifty? William Colon: Well. Vincent Williams: Do we remember? Brian Solis: I thought there was some flexibility with that. Vincent Williams: Okay. William Colon: There is, it's just, it is a question Vincent Williams: Can William Colon: of Vincent Williams: we justify it? William Colon: 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. Vincent Williams: Right. William Colon: So Alonzo Bell: Where do you guys come up with these numbers? Brian Solis: That's just off the top of my head, it is pending further emails. William Colon: From the board, Brian Solis: Right. William Colon: um, well Vincent Williams: 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 William Colon: That's true, I mean Brian Solis: It is the new it would be in a class of its own. Vincent Williams: Yeah. William Colon: 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, Vincent Williams: Right. William Colon: 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. Vincent Williams: Yeah. William Colon: Um, I say that we provisionally go with the touch screen or wh y wh what was your thought on the matter Ron? Alonzo Bell: 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, Vincent Williams: See if we can cut Alonzo Bell: my Vincent Williams: some corners. Alonzo Bell: my team in the uh on the third floor suggested that uh Vincent Williams: Right. Well and we can look into this other manufacturing option, and maybe we can get 'em somewhere else cheaper. William Colon: Mm. Alonzo Bell: Yeah. Brian Solis: It's true. We could initially go with what we have and Vincent Williams: Right. Brian Solis: if we can find them Vincent Williams: It's Brian Solis: cheaper Vincent Williams: a starting Brian Solis: later Vincent Williams: point Brian Solis: on Vincent Williams: anyway, so. William Colon: 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 Vincent Williams: Mm. William Colon: let's say that okay so the touch screen will be our um our main selling point here. Alonzo Bell: I William Colon: So Alonzo Bell: mean I think that we really have two main selling points, Vincent Williams: Yeah 'cause Alonzo Bell: I think Vincent Williams: with voice Alonzo Bell: that our casing Vincent Williams: recognition Alonzo Bell: and the voice recognition Vincent Williams: I mean really this is pretty bells and whistles kinda remote. Brian Solis: Yeah. William Colon: 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. Vincent Williams: I think we'd have to decide between 'em definitely. William Colon: Yeah. Alonzo Bell: To be honest, we Vincent Williams: Price-wise. Alonzo Bell: have the capa we have the design in-house, I mean we've we've come up with this, with Vincent Williams: True. Alonzo Bell: this new voice we're Vincent Williams: We've Alonzo Bell: using Vincent Williams: already got Alonzo Bell: it for Vincent Williams: it. Alonzo Bell: our coffee machines already. I can pass you on that email from my uh guy in uh guy down the hall. Sounds good. William Colon: Hmm. voice rec? Brian Solis: 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. Vincent Williams: Pretty much. Brian Solis: It would be very nice. Alonzo Bell: I mean we we have to r reflect back on what our market research did say. Vincent Williams: 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. William Colon: Mm. Vincent Williams: Like really I can't go in and say no we're gonna just ignore everything we know. William Colon: Yeah. Alonzo Bell: Does having both really up our costs? William Colon: 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 Vincent Williams: Yeah. William Colon: you can't have all three. Brian Solis: Yeah, 'cause you William Colon: It's Brian Solis: you William Colon: just Brian Solis: just William Colon: impossible. Brian Solis: upping the number of chips that you need to deal with each different Vincent Williams: Yeah. Brian Solis: function. William Colon: 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? Vincent Williams: 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. Brian Solis: I would have to side with that, I think William Colon: 'Kay. Brian Solis: the voice recognition is simpler, we already have the all the technology in-house, it's ready to go, it's packaged, it's William Colon: What does the cost look like Ron? Is it cheaper to do the V_R_ or to do the uh touch screen? Nathan? Alonzo Bell: Well my p Vincent Williams: Mm. Alonzo Bell: is Brian Solis: 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 William Colon: Mm. Brian Solis: in-house for the voice recognition we're not gonna have to do as much Vincent Williams: Right. Brian Solis: design work and sometimes the design work is what push the costs up, William Colon: Right. Brian Solis: if you know what I mean. Vincent Williams: Right. Alonzo Bell: Um, I definitely have to agree with that last Vincent Williams: And Alonzo Bell: comment. Vincent Williams: we're still not then we don't have to deal with this battery issue nearly as much either, William Colon: Mm. Vincent Williams: we can stick with what we've already got. In a lot other ways too. William Colon: 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. Vincent Williams: I think it's our lower risk option which William Colon: Yeah. Vincent Williams: for right now we can have it on the market sooner which is all in all our best option. William Colon: Okay. Sorted. We will omit the touch screen in favour of voice recognition. Alonzo Bell: It's you and Vincent Williams outside a little here. Vincent Williams: So and when are we gonna have basic prototypes coming up next that's you guys's next step right? William Colon: Yeah, well we'll we'll sic we'll sort out what it what f what else we're gonna talk about Brian Solis: Yeah. William Colon: for Vincent Williams: Right. William Colon: the prototype but yeah that's our next step, it'll Vincent Williams: Okay. William Colon: be a developing Brian Solis: Are William Colon: of Brian Solis: we William Colon: prototype. Brian Solis: going to talk now about um the materials that we're gonna use for William Colon: Yes. Brian Solis: the case and Vincent Williams: Mm-hmm. William Colon: We'll Brian Solis: all William Colon: just Brian Solis: those William Colon: run Brian Solis: things? William Colon: through it yeah, Brian Solis: Okay. William Colon: 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 Brian Solis: Um, William Colon: control? Brian Solis: 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. William Colon: Mm. Vincent Williams: Yeah. Brian Solis: Just to cover those moments when for whatever reason, the remote hasn't Vincent Williams: Well what Brian Solis: been Vincent Williams: of Brian Solis: exposed Vincent Williams: people with like Brian Solis: to Vincent Williams: the T_V_ in their basement, William Colon: Mm. Vincent Williams: like what if William Colon: Yep. Vincent Williams: wha we can't guarantee sunlight everywhere so having a Brian Solis: It's Vincent Williams: secondary Brian Solis: true. Vincent Williams: source is probably Brian Solis: Yeah, it works about the same as a solar powered calculator, Alonzo Bell: Calculator. Brian Solis: and you know Vincent Williams: Yeah. Brian Solis: how those those don't really Vincent Williams: True. Brian Solis: require that much light, Vincent Williams: True. Brian Solis: 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 Vincent Williams: Right. Brian Solis: a few William Colon: Right. Brian Solis: hours a day or anything. Vincent Williams: Okay. William Colon: Okay. What do you think Ron? Alonzo Bell: I'm willing to agree with everything that's been said. William Colon: Okay. Alonzo Bell: 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 Vincent Williams: Uh Alonzo Bell: a sleek little uh William Colon: Hmm. Alonzo Bell: neat Brian Solis: Hmm. Alonzo Bell: thing that sits on your table or something. Vincent Williams: Interesting. Brian Solis: Why, Alonzo Bell: Just a thought. Brian Solis: why William Colon: Yeah. Brian Solis: moving away from hand-held, why? What's the uh Alonzo Bell: Well Brian Solis: idea? Alonzo Bell: if you don't need to pick it up it could kind Vincent Williams: I Alonzo Bell: of Vincent Williams: if Alonzo Bell: be Vincent Williams: it's Alonzo Bell: a selling Vincent Williams: got voice Alonzo Bell: point. Vincent Williams: recognition it can be technically anywhere in your room and Brian Solis: Hmm. Vincent Williams: still do its job. Brian Solis: 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. Vincent Williams: 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 William Colon: Well Vincent Williams: as William Colon: we have Vincent Williams: a basic William Colon: to have buttons Vincent Williams: manual William Colon: on it too Vincent Williams: too, William Colon: as well. Vincent Williams: right. William Colon: 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 Vincent Williams: Mm-hmm. William Colon: and you know and Brian Solis: Right. William Colon: then they got these little Vincent Williams: Yep. William Colon: pyramidal type of um speakers. Vincent Williams: Yeah. William Colon: 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. Vincent Williams: With the bu yeah. William Colon: 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 Brian Solis: I William Colon: can Brian Solis: think, William Colon: sort Vincent Williams: Mm-hmm. William Colon: that Brian Solis: I think William Colon: out. Brian Solis: you're on to something because William Colon: Yeah. Brian Solis: we need to escape the traditional shape of a remote. Maybe something Vincent Williams: True. Brian Solis: that looks nice on a table is would be good, Vincent Williams: Way Brian Solis: even Vincent Williams: to go. Brian Solis: though and hand-held the same time. Alonzo Bell: I think it's all about following Apple's lead on a lot of these Vincent Williams: Yeah Alonzo Bell: things. Vincent Williams: I'm thinking of the airport Alonzo Bell: Mm-hmm. Vincent Williams: portal, you know William Colon: Mm. Vincent Williams: like that little pod looking thing? Brian Solis: Yeah, Alonzo Bell: Exactly. Brian Solis: those are nice. William Colon: 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 Vincent Williams: Right. William Colon: aluminium thing Brian Solis: Mm. William Colon: and get back to it but you could have a very tasteful um wood coloured or earth Vincent Williams: That would William Colon: tone Vincent Williams: be kinda William Colon: kind Vincent Williams: neat. William Colon: of um Vincent Williams: Terracotta bowl or something. William Colon: Still, I mean, yeah, along those lines. Vincent Williams: Mm. William Colon: Yeah I like that, I like that idea a lot. Um, let's see what we can do as far as that goes. Brian Solis: Okay. William Colon: 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, Vincent Williams: Mm. William Colon: um you know li lik if you feel the the tip on this pen it's a bit gives just a bit. Vincent Williams: Yeah. William Colon: 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. Brian Solis: Right. Just kind of the squishy feel. Vincent Williams: Yeah, which is the next big thing, so that's not gonna hurt us either. William Colon: 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 Vincent Williams: Right. William Colon: volume up. Yeah Vincent Williams: Handy. William Colon: 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. Brian Solis: Sorry about the uh lack of information on cost, I just haven't been provided that information by our manufacturers Vincent Williams: Okay. Brian Solis: and William Colon: We'll have more Brian Solis: I'm just William Colon: of an Brian Solis: having William Colon: idea when Brian Solis: to William Colon: the Brian Solis: guess. William Colon: 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 Vincent Williams: Mm. William Colon: know, not too complex. Vincent Williams: 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 Brian Solis: Right. William Colon: Like maybe have menu Vincent Williams: Take precedence, William Colon: things. Brian Solis: If, Vincent Williams: yeah. Brian Solis: if we're not going the touch-screen route then we can um just incorporate maybe something that folds out like what Vincent Williams: Right. Brian Solis: you often see William Colon: Mm. Brian Solis: on these kinds of remotes is the most basic functions up here and Vincent Williams: And Brian Solis: something Vincent Williams: they slide. Brian Solis: that slides down to reveal the you know more complicated things. William Colon: Yes. Vincent Williams: 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 Alonzo Bell: Think then we're hitting our cost issue again. Vincent Williams: True, we're William Colon: Yeah Vincent Williams: still William Colon: we've Brian Solis: Yeah. William Colon: also Vincent Williams: not making William Colon: got the Vincent Williams: it easier William Colon: Vincent Williams Vincent Williams: then. William Colon: the thing of, if we're gonna have a non-remote-looking remote, Vincent Williams: True. William Colon: how do we yeah. Vincent Williams: Fair enough. William Colon: B But no I mean we could do a slide or a compartment, you know, like if it say it's Vincent Williams: Yeah. William Colon: 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 Vincent Williams: Mm-hmm. William Colon: know you see the modern D_V_D_ players'll just have um a menu button on the side and then Vincent Williams: Yeah it's William Colon: four Vincent Williams: just a William Colon: buttons Vincent Williams: scroll. William Colon: around them and you Brian Solis: Right. William Colon: can just kind of manoeuvre Vincent Williams: Yeah. William Colon: through the menu like that. Brian Solis: 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 William Colon: Well it seems like I dunno it seems to Vincent Williams that we could just do the um stick with the rubber 'cause since we're probably gonna be using Vincent Williams: Yeah. William Colon: some kind of um rubber for the outside case we Vincent Williams: Probably. William Colon: might as well stick with that um. Brian Solis: Right. Alonzo Bell: 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 Vincent Williams: Right. Alonzo Bell: and then make our unique feature our casing and what not Vincent Williams: Mm. Alonzo Bell: and our voice command. Vincent Williams: 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. Brian Solis: Right. William Colon: 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, Vincent Williams: Mm. William Colon: um. Especially now with eighteen to thirty five year olds being such a large quantity of the population. Vincent Williams: Right, particularly in technological fields, so William Colon: Mm-hmm, mm-hmm. Vincent Williams: that's exactly where we're headed. William Colon: 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. Alonzo Bell: Well what are we actually doing? What William Colon: Right. Alonzo Bell: were William Colon: I was just gonna step on to um Vincent Williams: Uh. Oh it wasn't in the way but William Colon: I wasn't? Vincent Williams: yeah, William Colon: Oh, my Vincent Williams: whatever. William Colon: bad um sorry. Vincent Williams: No, don't worry about it. William Colon: The um, yeah okay I was just gonna assign tasks in the next Alonzo Bell: Sure. William Colon: b anyth any oth any other Vincent Williams: Okay. William Colon: final thoughts before we go ahead and cool? Brian Solis: So Vincent Williams: Yeah. Brian Solis: have we decided that we are gonna go with different style cases for different people? Or are we just William Colon: Um. Brian Solis: going to go with one? ..It's very, it's very hard thing to predict because Vincent Williams: Yeah. Brian Solis: 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. William Colon: Yeah. Vincent Williams: Right. Brian Solis: It's a tough situation, but obviously having more cases also costs more so William Colon: Well then again colours wouldn't be so hard to do, you could have uh Brian Solis: There's an idea. William Colon: a, you know, a um uh kind of a natural wood colour, like a stained wood and Vincent Williams: Mm. William Colon: um, I don't know, olive green or something. Vincent Williams: Yeah. William Colon: That wouldn't be so much of a problem to incorporate into the colour of the thing. Alonzo Bell: And again copying iMac's kind of for iPod Mac Vincent Williams: Yeah, Alonzo Bell: Apple's Vincent Williams: get Alonzo Bell: uh Vincent Williams: in there. Alonzo Bell: colour scheme. Vincent Williams: Yeah, totally. William Colon: Yeah, I think that's probably a good Brian Solis 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, Brian Solis: Right. William Colon: 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 Brian Solis: Oh William Colon: well. Brian Solis: excellent yeah. William Colon: So that's what to start with for now, is that alright, Vincent Williams: Cool. William Colon: you guys feel Brian Solis: That William Colon: clear Brian Solis: sounds William Colon: about this? Brian Solis: good. Alonzo Bell: Fabulous. William Colon: Alright. I guess we'll just hit the bricks. Thanks guys. Vincent Williams: Cool.

Brian Solis presented an analysis of cost and the manufacturing options that were available to the group. Vincent Williams presented market trends and the organic trend that this project would adopt. She discussed materials that could be used to follow this trend. Alonzo Bell 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. William Colon 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

Michael Hertler: Okay. Oh I totally Yeah 'cause I moved it. 'S put it over here. Then we don't have to worry about it. Jeffrey Cipriano: Ready for this? Ben Strauss: 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 Tony Mcculley: Yeah. Ben Strauss: which is kind of fun. Jeffrey Cipriano: Oh man. Ben Strauss: 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 Michael Hertler. It means I'm supposed to read the minutes from the previous meeting. Tony Mcculley: Oh really? Okay. Ben Strauss: I think. Michael Hertler: Huh. Ben Strauss: 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. Michael Hertler: Yeah that's not you. Ben Strauss: 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 Tony Mcculley, 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 Michael Hertler 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. Tony Mcculley: 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 Ben Strauss: Mm-hmm. Tony Mcculley: 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 Michael Hertler: Ah. Tony Mcculley: multiple colours coming out, Ben Strauss: Nice. Tony Mcculley: why not? Michael Hertler: Fair enough. Tony Mcculley: Of course, if that's annoying for some people that function can be turned off. Ben Strauss: Perfect. Tony Mcculley: Um. Jeffrey Cipriano: No Tony Mcculley: Go ahead. Jeffrey Cipriano: it's important to we talked a quite a bit about uh you know the the interchangeable uh faces Michael Hertler: Mm. Jeffrey Cipriano: and what we've done here is come up with a bit of a natural look here um f Michael Hertler: Right. Jeffrey Cipriano: we call it fruity if you will. Michael Hertler: Appropriate, Jeffrey Cipriano: Um. Michael Hertler: okay. Jeffrey Cipriano: 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 Michael Hertler: Mm 'kay. Jeffrey Cipriano: in first to be something a little bit more subdued but this is kind of something that can be done Michael Hertler: It is an option. Jeffrey Cipriano: um and as you can see on the television there uh we have the uh voice detector device Ben Strauss: Oh, right. Jeffrey Cipriano: um on Tony Mcculley: That's Jeffrey Cipriano: the Tony Mcculley: this Jeffrey Cipriano: top Tony Mcculley: here. Jeffrey Cipriano: there. Michael Hertler: Ah. Jeffrey Cipriano: Um. Michael Hertler: I see. Jeffrey Cipriano: 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? Tony Mcculley: 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. Jeffrey Cipriano: 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. Tony Mcculley: Fact, I dunno if you noticed, but I wrote the uh the company's name Ben Strauss: Oh Tony Mcculley: on the telephone Ben Strauss: well Tony Mcculley: screen, Ben Strauss: done Michael Hertler: Nice. Tony Mcculley: I thought Ben Strauss: yeah, Tony Mcculley: that was kinda Ben Strauss: yeah Tony Mcculley: nice. Ben Strauss: oh Tony Mcculley: This Ben Strauss: ok Tony Mcculley: was actually an apple on the inside. Michael Hertler: Do we need Tony Mcculley: This Michael Hertler: to worry about um rot factors? Jeffrey Cipriano: Um it's encased in a new uh type of uh Michael Hertler: Oh okay, there's preservatives Jeffrey Cipriano: polymer Michael Hertler: involved, Tony Mcculley: Yeah. Michael Hertler: we don't Jeffrey Cipriano: yeah. Michael Hertler: need to worry, Jeffrey Cipriano: It's Tony Mcculley: We Jeffrey Cipriano: fine. Michael Hertler: okay. Tony Mcculley: got a bit ahead of ourselves, I know we're not Jeffrey Cipriano: Hmm. Michael Hertler: Fair Tony Mcculley: talking Michael Hertler: enough. Tony Mcculley: about making televisions at this point Ben Strauss: Edible Tony Mcculley: or anything Ben Strauss: televisions, Tony Mcculley: like Michael Hertler: No Tony Mcculley: that, but Ben Strauss: it's a Michael Hertler: but Ben Strauss: wave of the future. Michael Hertler: It's a Jeffrey Cipriano: It's Michael Hertler: couple Jeffrey Cipriano: pos Michael Hertler: years off at least. Jeffrey Cipriano: a possible new Michael Hertler: Okay. Jeffrey Cipriano: product. Um, but I think that's I think that sums up the main features of our of the remote, um Ben Strauss: Brilliant. Tony Mcculley: Right. Jeffrey Cipriano: 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? Tony Mcculley: 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. Jeffrey Cipriano: Mm-hmm. Tony Mcculley: 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 Michael Hertler: Mm. Tony Mcculley: 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. Ben Strauss: Brilliant. Tony Mcculley: So even though it has Michael Hertler: Mm. Tony Mcculley: a lot of modern technology, um for example the voice recognition, in a lot of ways it's just a simple remote Michael Hertler: Okay. Tony Mcculley: and um Jeffrey Cipriano: Mm. Tony Mcculley: I think if we shopped around for other manufacturers um we might be able to get even cheaper. Jeffrey Cipriano: Did Tony Mcculley: And Jeffrey Cipriano: we talk about the voice recognition uh option? Tony Mcculley: Oh no, we haven't talked Jeffrey Cipriano: So Tony Mcculley: about that yet Jeffrey Cipriano: uh Tony Mcculley: have we? Jeffrey Cipriano: so uh yeah on the back here you all noticed this area here which is actually the voice recognition uh Michael Hertler: Okay. Jeffrey Cipriano: uh console and uh I think it's nicely designed into the into the overall Michael Hertler: Yeah. Jeffrey Cipriano: 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 Michael Hertler: Mm Jeffrey Cipriano: um Michael Hertler: 'kay. Jeffrey Cipriano: design that we were talking about earlier and um, I think that uh has given a proven um ease of use and Tony Mcculley: Hmm. Jeffrey Cipriano: what not. Tony Mcculley: Yeah. Jeffrey Cipriano: And uh allows features like the remote actually talking back to the user Michael Hertler: Right. Jeffrey Cipriano: um, so. Ben Strauss: Cool. Tony Mcculley: Any questions? Ben Strauss: No, no I think that's Michael Hertler: 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? Tony Mcculley: Um, do you Michael Hertler: Do Tony Mcculley: wanna Michael Hertler: we Tony Mcculley: answer Michael Hertler: know Tony Mcculley: this Michael Hertler: where we Tony Mcculley: one Michael Hertler: stand Tony Mcculley: or do you want Michael Hertler: on Tony Mcculley: Michael Hertler to Michael Hertler: that Tony Mcculley: answer Michael Hertler: yet? Tony Mcculley: it? Jeffrey Cipriano: Well we didn't quite have enough material uh. Michael Hertler: Oh I wasn't expecting a prototype Tony Mcculley: Yeah, Michael Hertler: I just Jeffrey Cipriano: Oh Michael Hertler: didn't Jeffrey Cipriano: I see, Michael Hertler: know if you Tony Mcculley: yeah. Michael Hertler: guys had any in mind Jeffrey Cipriano: right, Michael Hertler: yet. Tony Mcculley: Um, Jeffrey Cipriano: um. Tony Mcculley: well as you can see this is just a most superficial layer and um it'd be very easy to Michael Hertler: Okay. Tony Mcculley: put another layer Michael Hertler: Just Tony Mcculley: of Michael Hertler: veneer Tony Mcculley: something else Michael Hertler: really, yeah. Tony Mcculley: like Jeffrey Cipriano: Right. Michael Hertler: Okay. Jeffrey Cipriano: Actually this bottom red ring here just unclips Michael Hertler: Mm-hmm. Jeffrey Cipriano: and then you put Michael Hertler: And the Jeffrey Cipriano: a Michael Hertler: whole Jeffrey Cipriano: a new Michael Hertler: thing Jeffrey Cipriano: a new uh Michael Hertler: Okay. Jeffrey Cipriano: a new plate on top of that. Michael Hertler: Right. Jeffrey Cipriano: So I mean there are I we definitely Michael Hertler: Yeah. Jeffrey Cipriano: priced out Michael Hertler: There's Jeffrey Cipriano: a spongy even spongier non-natural look Michael Hertler: Okay. Jeffrey Cipriano: um materials which I think worked out fine. We also continued Michael Hertler: Mm 'kay. Jeffrey Cipriano: on with the ideas that f following uh Apple's colour schemes Michael Hertler: Okay, Jeffrey Cipriano: with the kind of the Michael Hertler: very Jeffrey Cipriano: uh Michael Hertler: cool. Jeffrey Cipriano: light orange and Tony Mcculley: It's Jeffrey Cipriano: the Tony Mcculley: not Jeffrey Cipriano: green. Tony Mcculley: it's not quite a a face plate, it's more like a pseudo-face plate Michael Hertler: Okay. Tony Mcculley: 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 Michael Hertler: Okay. Tony Mcculley: the face plate way if you know what I mean. Michael Hertler: Yep. It's still an option if we Tony Mcculley: Yeah. Michael Hertler: need it. Very cool, nice job. Ben Strauss: 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 Michael Hertler you've got you provided a number that actually sounds quite nice. Um the trouble is I was just given this by finance. Tony Mcculley: Oh. Ben Strauss: Um, it's a spreadsheet of the parts and I've just tentatively put in what it's going to Tony Mcculley: Ooh. Ben Strauss: 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? Tony Mcculley: Right uh Ben Strauss: With Tony Mcculley: we Ben Strauss: a Tony Mcculley: didn't Ben Strauss: back-up Tony Mcculley: really touch Ben Strauss: battery? Tony Mcculley: on that but it it's in there, yep. Ben Strauss: With the ba okay. Um and Jeffrey Cipriano: The voice recognition area actually doubles as uh as the solar cell area. Ben Strauss: Clever, Jeffrey Cipriano: Yeah. Ben Strauss: 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? Tony Mcculley: Yeah, yeah. It's just making use of the same space and Michael Hertler: Mm-hmm. Tony Mcculley: the same materials, Ben Strauss: Okay. Tony Mcculley: but Ben Strauss: Um and the case, it's more of a single-curved case, I guess would be that be the general Tony Mcculley: Yeah, one big Michael Hertler: Mm-hmm. Tony Mcculley: curve I guess you could say. Ben Strauss: 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 Tony Mcculley: Yeah, Ben Strauss: we? Tony Mcculley: mm-hmm. Ben Strauss: Um. And um a special I guess it's uh we've got a sort of a wood materi a rubbery type material Tony Mcculley: Yeah, special. Ben Strauss: that throughout, yeah. Tony Mcculley: 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, Ben Strauss: Yeah, it's it's Tony Mcculley: I like Ben Strauss: quite Tony Mcculley: to think Ben Strauss: unique. Tony Mcculley: of it as Ben Strauss: I Tony Mcculley: unconventional. Ben Strauss: like it, yeah it's So it looks like Michael Hertler: M come in at sixteen? Ben Strauss: a bit over Tony Mcculley: Oh. Ben Strauss: budget, Tony Mcculley: Huh, Ben Strauss: um. Tony Mcculley: doesn't match up does it? Ben Strauss: 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. Tony Mcculley: How do Ben Strauss: Uh Tony Mcculley: you feel about that? Jeffrey Cipriano: 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 Michael Hertler: Yeah. Jeffrey Cipriano: you know what the sell is on that. Tony Mcculley: 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 Ben Strauss: Mm-hmm. Tony Mcculley: am I Michael Hertler: Mm Tony Mcculley: gonna do? Michael Hertler: k. Ben Strauss: Mm-hmm. Tony Mcculley: People'd be real upset. I Michael Hertler: True. Tony Mcculley: 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. Ben Strauss: Hmm. Ben Strauss: What's difficult, we have all these things integral to the um to the design Michael Hertler: Nah. Ben Strauss: 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, Tony Mcculley: Yeah. Ben Strauss: um Michael Hertler: 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. Tony Mcculley: Hmm. Jeffrey Cipriano: I mean you might Michael Hertler: I mean Jeffrey Cipriano: be able to sway Michael Hertler on the idea that we our main selling point could be already this voice recognition thing I mean that's Michael Hertler: Which, Jeffrey Cipriano: what sets Michael Hertler: it's Jeffrey Cipriano: us apart right? Michael Hertler: 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. Jeffrey Cipriano: And the reality Tony Mcculley: Right. Jeffrey Cipriano: is you know, for Michael Hertler 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 Michael Hertler: Right. Jeffrey Cipriano: in the in the business structure model Michael Hertler: Yeah. Jeffrey Cipriano: here and Tony Mcculley: Right. Jeffrey Cipriano: uh you know I think Ben Strauss: It's either or. Jeffrey Cipriano: I think that Michael Hertler: Yeah. Jeffrey Cipriano: I think that we need to come to a compromise here and maybe move ahead with the project, without the solar cell. Tony Mcculley: Yeah. Michael Hertler: I think Tony Mcculley: I guess Michael Hertler: unfortunately Tony Mcculley: we might have to Michael Hertler: that's Tony Mcculley: do Michael Hertler: our best Tony Mcculley: that. Michael Hertler: option. Tony Mcculley: It's the only way we're gonna get below our uh goal isn't it? Michael Hertler: Mm. Tony Mcculley: Of twelve fifty. Ben Strauss: 'Cause we can't remove the push buttons 'cause they're Tony Mcculley: Yeah, Michael Hertler: It kind Ben Strauss: um Michael Hertler: of yeah. Ben Strauss: and we can't get rid of the uh I mean removing the changing the case wouldn't be so much of a Jeffrey Cipriano: Savings. Ben Strauss: mm-mm, um, Michael Hertler: Mm-mm. Ben Strauss: nor would changing the case materials. Um. So yeah that looks like to be the only thing. Michael Hertler: Yeah. Ben Strauss: So that would be the it's a major change but Yeah. Tony Mcculley: Gotta Ben Strauss: Alright, Tony Mcculley: do what you gotta do. Ben Strauss: so we're in agreement on that. Michael Hertler: Unfortunately I think we are. Jeffrey Cipriano: No, I think that was a good compromise you brought forward Sarah. Ben Strauss: Right. Moving along swiftly. Um, so I guess now we just go to the project evaluation which I will allow Sarah to take Michael Hertler: That Ben Strauss: over. Michael Hertler: would be Michael Hertler. Um cord? Ben Strauss: Ah of course, sorry. Michael Hertler: No problem. Ben Strauss: Whoosh. Michael Hertler: Can you reach, that Jeffrey Cipriano: Yep. Michael Hertler: would be great, thank you. Ben Strauss: That'd be great Michael Hertler: 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. Tony Mcculley: Mm. Michael Hertler: 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. Tony Mcculley: Really good. Michael Hertler: So. Jeffrey Cipriano: They like that spongy feel. Michael Hertler: Yeah. It looks like it's going over well, Jeffrey Cipriano: And Michael Hertler: so Jeffrey Cipriano: the paging Tony Mcculley: Six? Jeffrey Cipriano: function works well, that's Michael Hertler: we're Jeffrey Cipriano: good to hear, Michael Hertler: we're good Jeffrey Cipriano: we Michael Hertler: yeah. Jeffrey Cipriano: worked hard on that one. Tony Mcculley: We Michael Hertler: Yeah. Tony Mcculley: did. Michael Hertler: 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. Ben Strauss: Brilliant. Tony Mcculley: I am bit Michael Hertler: That's Tony Mcculley: disappointed Michael Hertler: everything from Tony Mcculley: about Michael Hertler: Michael Hertler. Tony Mcculley: losing the solar panel Ben Strauss: Hmm. Tony Mcculley: but Michael Hertler: Yeah. Tony Mcculley: it's okay. Mm. Michael Hertler: Yeah, it is a set-back, but Okay, do you need the cord back? Jeffrey Cipriano: W we might Ben Strauss: Um Jeffrey Cipriano: have Ben Strauss: yeah, Jeffrey Cipriano: uh Ben Strauss: I was just Jeffrey Cipriano: we Ben Strauss: go on. Jeffrey Cipriano: might have lost that granola market again that Tony Mcculley: I Jeffrey Cipriano: we're Tony Mcculley: know. Ben Strauss: Well they don't own tellys anyway do they? Jeffrey Cipriano: I guess Tony Mcculley: True. Jeffrey Cipriano: that's true. Ben Strauss: Right. So, um, this one's a bit unclear to Michael Hertler 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 Tony Mcculley: Okay. Ben Strauss: how that all worked, I guess, um. Michael Hertler: As in within the team Ben Strauss: I think Michael Hertler: or? Ben Strauss: so yeah. Tony Mcculley: Right so it's Michael Hertler: Okay. Tony Mcculley: just kind of a Ben Strauss: I think Tony Mcculley: open Ben Strauss: it's Tony Mcculley: mic kind of thing or Ben Strauss: I mm-hmm, I think so. Tony Mcculley: 'Kay. Ben Strauss: I think Michael Hertler: It is now, you're in charge Ben Strauss: hope Michael Hertler: so there you go. Ben Strauss: I'm not screwing up an experiment. But I trust that she would jump in if I was so okay fair enough. Tony Mcculley: Yeah. Michael Hertler: Whatever. Ben Strauss: Um right, um so any thoughts? Tony Mcculley: Are we considering Michael Hertler: Um. Tony Mcculley: these points here? Ben Strauss: Yeah. Tony Mcculley: Okay. Michael Hertler: I think they're starting blocks yeah. Ben Strauss: What do you guys feel about the process? Michael Hertler: 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. Ben Strauss: Mm-hmm. Michael Hertler: Um, and the technology has definitely been a help, it's really been interesting to try out all this new stuff. Jeffrey Cipriano: We didn't use the whiteboard at all. Tony Mcculley: No. Ben Strauss: No, Michael Hertler: No, Ben Strauss: no Michael Hertler: we Ben Strauss: whiteboard. Michael Hertler: didn't. We could now if that'd make up for it but really Jeffrey Cipriano: And Michael Hertler: 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. Jeffrey Cipriano: 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. Michael Hertler: Yeah I think I was taking notes more often than usual just 'cause Tony Mcculley: Yeah, Michael Hertler: I liked the pen, Tony Mcculley: it's true. Michael Hertler: yeah. Jeffrey Cipriano: Uh. Tony Mcculley: Mm. Ben Strauss: Was pretty cool tack though. Jeffrey Cipriano: Yeah. Michael Hertler: Mm. Tony Mcculley: Definitely. Michael Hertler: I am disappointed I didn't get a note back from my personal coach. Tony Mcculley: As you write your personal coach. Michael Hertler: Yeah, but I didn't get a response so we'll see. Tony Mcculley: What if you get a response two or three months from now? Michael Hertler: Okay Tony Mcculley: That'd Michael Hertler: that Tony Mcculley: be Michael Hertler: would Tony Mcculley: weird. Michael Hertler: be kinda creepy. Ben Strauss: Attempts to contact coach ineffective. Michael Hertler: Well what kind of coaching is that really? What if I really needed something. Jeffrey Cipriano: I so I don't n I think there was a lot of room for creativity, we could do whatever basically Michael Hertler: I think so. Jeffrey Cipriano: what we wanted until the budget came down on us, um. Michael Hertler: And even then we did get a decent product turned out although it's not everything we wanted it to be. Tony Mcculley: Yeah. Jeffrey Cipriano: With the natural look. Tony Mcculley: That's very natural. Ben Strauss: Very natural look. Michael Hertler: Organic, really. Ben Strauss: That's the brilliance of they had a p they had a peeler in here. Michael Hertler: And highly resourceful team mates might I add Tony Mcculley: Yeah. Michael Hertler: which is always a plus. Ben Strauss: Yeah, I think, yeah re I thought it was like really creative actually, I mean. Michael Hertler: Mm yeah, Jeffrey Cipriano: I Michael Hertler: I'm impressed. Jeffrey Cipriano: think the teamwork was good Tony Mcculley: And to Jeffrey Cipriano: as Tony Mcculley: prove Jeffrey Cipriano: well. Tony Mcculley: that we weren't wasteful we didn't waste a single bit of Play-Doh, we used every bit. Michael Hertler: Nice. All four of those little containers. Tony Mcculley: Yeah, Ben Strauss: Including Tony Mcculley: I guess Ben Strauss: the s the multi-coloured wave pattern. Tony Mcculley: My one my one criticism is that we didn't have enough colours to work with, we only had four, Michael Hertler: Yeah. Tony Mcculley: wasn't enough. Michael Hertler: You could have developed multiple skins really had Tony Mcculley: I know Michael Hertler: you had Tony Mcculley: it Michael Hertler: more colours. Tony Mcculley: could have been amazing. Michael Hertler: Oh well. Ben Strauss: What did you guys think about the the the roles? Tony Mcculley: Hmm. Michael Hertler: They were good. Tony Mcculley: Yeah it's f kind of fun, Michael Hertler: Yeah. Tony Mcculley: 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 Michael Hertler: True. Tony Mcculley: kind of filled in the gaps enough. At the same time you had enough room to kind of just make things up, Michael Hertler: Do your own. Tony Mcculley: which was kind of fun. Michael Hertler: Though I did feel like th the level of information dropped off severely over the course of the day. Tony Mcculley: Yeah. Michael Hertler: I mean maybe it's just Michael Hertler but I didn't actually get any information for the last presentation at all. Ben Strauss: That's true, Michael Hertler: Nothing, Ben Strauss: I I got this spreadsheet. Michael Hertler: 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. Jeffrey Cipriano: Well Michael Hertler: Whatever. Jeffrey Cipriano: I think that was I think that was an issue I kept finding with regard to Ben Strauss: Of what to do. Jeffrey Cipriano: well no but also yeah when I was reporting about what each of us was doing I was often Tony Mcculley: Mm. Michael Hertler: Mm-hmm. Jeffrey Cipriano: confused as to what you were doing Michael Hertler: Uh-huh, that wasn't very much. Tony Mcculley: You know Jeffrey Cipriano: felt Michael Hertler: Mm. Jeffrey Cipriano: like you know a lot of our discussion would centre around n specifically what my task was because that was kind of the interface Tony Mcculley: Yeah. Jeffrey Cipriano: portion which was what Michael Hertler: Yes. Jeffrey Cipriano: the whole project was about Ben Strauss: Mm, mm. Jeffrey Cipriano: uh Michael Hertler: Hmm, very much so. Jeffrey Cipriano: but and then in the end I think our jobs kind of melded together a Tony Mcculley: Yeah. Jeffrey Cipriano: little bit more, Tony Mcculley: That was fun. Jeffrey Cipriano: which Tony Mcculley: I think Jeffrey Cipriano: was fine. Tony Mcculley: the most helpful thing out of everything was getting the the PowerPoint slides already put together Jeffrey Cipriano: Mm-hmm. Tony Mcculley: for you Michael Hertler: Yeah, Tony Mcculley: 'cause if Michael Hertler: already Tony Mcculley: we didn't Michael Hertler: having Tony Mcculley: have Michael Hertler: the Tony Mcculley: that Michael Hertler: formatted stuff Tony Mcculley: there's Michael Hertler: helped Tony Mcculley: no way Michael Hertler: a Tony Mcculley: we Michael Hertler: lot. Tony Mcculley: could have got all that done in time. Michael Hertler: Very much so. Ben Strauss: Cool. Jeffrey Cipriano: And I think your leadership was quite good. Tony Mcculley: It was Michael Hertler: Hmm. Tony Mcculley: really good yeah. Ben Strauss: 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 Michael Hertler: Yeah. Ben Strauss: felt like I got way too into it. Michael Hertler: That's kind of a good thing though, Ben Strauss: I felt like I Tony Mcculley: It's Ben Strauss: slipped Tony Mcculley: kinda fun. Michael Hertler: you Ben Strauss: into Michael Hertler: know, Ben Strauss: it a lot. Michael Hertler: give the rest of us some structure to work with so hey. Ben Strauss: I dunno. Jeffrey Cipriano: An so is that the first time you've taken on that kind of role? Ben Strauss: The first time I've ever done anything like yeah project project management. I usually Michael Hertler: Hmm. Ben Strauss: organise crap, it's one thing to do, you know set up a party with your friends, Tony Mcculley: Yeah. Ben Strauss: you know? Michael Hertler: Yeah. Tony Mcculley: Little different. Ben Strauss: But you guys felt that you could keep the, yeah, suspension of disbelief kind of like like the role Michael Hertler: Yeah. Ben Strauss: and the okay? Tony Mcculley: Yeah. Michael Hertler: I except for a couple moments where it just got out of hand and I knew we were Tony Mcculley: Yeah. Michael Hertler: all lying through our teeth, other than that Jeffrey Cipriano: I had to admit, as soon as w we started I mean as soon as we got the Play-Doh, Michael Hertler: I could only imagine. Jeffrey Cipriano: th you know the whole concept of really trying to stick with reality went out the window. Ben Strauss: Yeah, yeah. Maybe in in Legos you know? Jeffrey Cipriano: Possibly. Ben Strauss: 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 Jeffrey Cipriano: Oh yeah, Ben Strauss: with Legos Michael Hertler: Yeah. Jeffrey Cipriano: still Ben Strauss: everybody Jeffrey Cipriano: have 'em. Ben Strauss: knows Michael Hertler: Totally. Ben Strauss: best spaceships ever. Um you guys felt like there was enough teamwork in all? Tony Mcculley: Yeah? Michael Hertler: I think so. Jeffrey Cipriano: Yep. Ben Strauss: Hmm. Tony Mcculley: You Ben Strauss: No Tony Mcculley: don't. Ben Strauss: I, no I dunno, I d I I dunno, I don't I I was just Michael Hertler: Though Ben Strauss: I Michael Hertler: we didn't actually I mean other than minor discussion at meetings there wasn't except for the actual building, Tony Mcculley: Yeah. Michael Hertler: but Ben Strauss: It's true Michael Hertler: I feel Ben Strauss: huh? Michael Hertler: 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 Ben Strauss: Yeah. Michael Hertler: three hours' worth of meetings. Jeffrey Cipriano: I mean I think had the issue been more serious we probably woulda brainstormed more during our meetings as Tony Mcculley: Yeah. Michael Hertler: That's Jeffrey Cipriano: a Michael Hertler: true. Jeffrey Cipriano: team. Ben Strauss: Yeah. Course I'm I'm conscious of the idea of Ben Strauss asking if you guys feel like there's a team you know it's like, kind of like, like hmm. It Michael Hertler: Yeah Ben Strauss: d Michael Hertler: that is kind of Ben Strauss: But yeah. Interesting. It's kind of fascinating wasn't it? I mean the whole process of Tony Mcculley: 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? Ben Strauss: I don't know. I I don't know if there was a ri I th Michael Hertler: Mine was the mics. I didn't feel like getting up and down and dealing with all these wires, Tony Mcculley: Yeah, Michael Hertler: I was afraid Tony Mcculley: that's Michael Hertler: I was gonna Tony Mcculley: it Michael Hertler: break Tony Mcculley: 'cause Michael Hertler: something Tony Mcculley: the Michael Hertler: actually. Tony Mcculley: mics are loose and each Michael Hertler: Yeah. Tony Mcculley: time you get up it's s a possibility Ben Strauss: Mm. Michael Hertler: Yeah. Tony Mcculley: of tripping over something or getting tangled or. Michael Hertler: Yeah. Jeffrey Cipriano: Well I dunno what I woulda shown on that board. Michael Hertler: True, but it didn't even occur to Michael Hertler as an option, I mean I don't Ben Strauss: Nor Michael Hertler: know that Ben Strauss: I. Michael Hertler: I would have but I know that I consciously didn't. Jeffrey Cipriano: I mean it's just like the paper I don't know what I really needed the paper for. Michael Hertler: True. Jeffrey Cipriano: Um, because I've got this laptop. Michael Hertler: Yeah. Jeffrey Cipriano: Standard, I just used it 'cause it's literally right in front of Michael Hertler. Michael Hertler: Yeah. Ben Strauss: I wanna see the output files Michael Hertler: Well Ben Strauss: from Michael Hertler: it looks Ben Strauss: these Michael Hertler: really professional. Ben Strauss: um, from the digital paper. I wanna see wh Michael Hertler: I know. Ben Strauss: wh what my my handwriting looks like digitized because my handwriting is crap. Tony Mcculley: Yeah, Ben Strauss: I mean, Tony Mcculley: that's Ben Strauss: just Tony Mcculley: it. Ben Strauss: to see what it looks like in P_D_F_ format or something. Tony Mcculley: Usually I would do a lot more doodling too but I didn't because Michael Hertler: 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. Ben Strauss: 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. Jeffrey Cipriano: So is this all we need to get through? Ben Strauss: I dunno, I'm not sure Michael Hertler: I Ben Strauss: what the Michael Hertler: guess. Ben Strauss: new ideas found i is about. Michael Hertler: Um. Tony Mcculley: New ideas. Michael Hertler: It Jeffrey Cipriano: Is it Michael Hertler: did it just say in an email that we need to discuss that? Ben Strauss: Well, that's the thing I got i in the email I got this PowerPoint file but this slide was just Michael Hertler: That slide Ben Strauss: there, Michael Hertler: was like that? Ben Strauss: mm-hmm. I didn't change this one at all. Tony Mcculley: Hmm. Michael Hertler: Well. Ben Strauss: Um Tony Mcculley: I guess Ben Strauss: ch Tony Mcculley: we're on the right track. Ben Strauss: Yeah well. Jeffrey Cipriano: Any new ideas with regard to Ben Strauss: W Jeffrey Cipriano: remote control concepts? Tony Mcculley: No, Ben Strauss: I kinda Tony Mcculley: none. Ben Strauss: like Michael Hertler: Uh Ben Strauss: th Michael Hertler: I think they still do their job. Tony Mcculley: I Ben Strauss: Yeah Tony Mcculley: think Ben Strauss: you Tony Mcculley: they're Ben Strauss: can't Tony Mcculley: fine actually. Michael Hertler: I am thinking outside the little square box though, with literally Ben Strauss: Yeah. Michael Hertler: in like form I don't Tony Mcculley: Yeah, maybe a s a circle would be alright, Michael Hertler: Yeah. Tony Mcculley: different. Ben Strauss: Does kinda make you wonder, I mean, how much can you do with a remote control? It's like inventing a new car. Yeah Michael Hertler: It's still Ben Strauss: yeah, you Michael Hertler: gotta Ben Strauss: can Michael Hertler: be technically car shaped or it won't fit on the road, you know? Ben Strauss: Yeah. Michael Hertler: Don't know. Ben Strauss: Hmm. Um. Jeffrey Cipriano: What is Ben Strauss: 'Kay. Jeffrey Cipriano: that? Our limited Michael Hertler: Kind Jeffrey Cipriano: ability Ben Strauss: So Michael Hertler: of. Ben Strauss: this Jeffrey Cipriano: to Ben Strauss: was Jeffrey Cipriano: think outside Ben Strauss: other Tony Mcculley: Are we back Ben Strauss: costs. Jeffrey Cipriano: the box? Tony Mcculley: into Ben Strauss: I dunno. Tony Mcculley: project Ben Strauss: I think this Tony Mcculley: mood? Ben Strauss: is Michael Hertler: Oh, how long was our meeting supposed to be? How much time Ben Strauss: forty Michael Hertler: do we have left? Ben Strauss: 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, Michael Hertler: Mm. Ben Strauss: what like you know what am I really doing, you know what is Michael Hertler: Yeah, at the beginning it started out and I felt actually like under pressure like the first couple Ben Strauss: Yep. Michael Hertler: were taking a lot of work and I was like had like all Tony Mcculley: Yeah. Michael Hertler: 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 Jeffrey Cipriano: Why? Michael Hertler: anyway so Ben Strauss: Hey. Michael Hertler: type away. Jeffrey Cipriano: Huh Michael Hertler: You Jeffrey Cipriano: I think it was the real. Michael Hertler: know, you know what I mean like we all sort Tony Mcculley: Yeah. Michael Hertler: of knew where we were headed with it so it didn't feel Jeffrey Cipriano: Yeah. Tony Mcculley: Definitely when Michael Hertler: like it mattered anymore. Tony Mcculley: when I first filled out the questionnaire I was marking it probably higher in terms of how much I had to Michael Hertler: Mm-hmm. Tony Mcculley: how much I stressed over it and then by the time I got to the last one I was like, you know, not Michael Hertler: Whatever. Tony Mcculley: very much. Ben Strauss: Mm. Michael Hertler: Yeah. Jeffrey Cipriano: Think it was also realisation of you basically just copy and paste what's given to Tony Mcculley: Yeah. Jeffrey Cipriano: you into Michael Hertler: Very Jeffrey Cipriano: your presentation Michael Hertler: much, yeah. Jeffrey Cipriano: which uh wasn't so clear to Michael Hertler at the beginning. Ben Strauss: I actually Tony Mcculley: Mm-hmm. Ben Strauss: didn't do that at all though, every single one I a all the presentations I either added slides or edited 'em. I Jeffrey Cipriano: Oh Ben Strauss: di Jeffrey Cipriano: I added like five slides Ben Strauss: Oh. Jeffrey Cipriano: too, Michael Hertler: See I only got Tony Mcculley: Did Jeffrey Cipriano: but Tony Mcculley: you Michael Hertler: blank Jeffrey Cipriano: I Tony Mcculley: really? Michael Hertler: ones. Tony Mcculley: I just got blank ones and Ben Strauss: What? Really? Michael Hertler: My slides were all blank, they'd have a title maybe Jeffrey Cipriano: Yeah, mine Michael Hertler: and Jeffrey Cipriano: too. Michael Hertler: they were just empty. Tony Mcculley: Michael Hertler too. Ben Strauss: 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. Michael Hertler: Like Ben Strauss: This is Michael Hertler: with Ben Strauss: what Michael Hertler: those Ben Strauss: that Michael Hertler: words Ben Strauss: looked Michael Hertler: already Ben Strauss: like, Michael Hertler: on it? Ben Strauss: literally, just Michael Hertler: No. Ben Strauss: like Jeffrey Cipriano: No. Ben Strauss: that. Interesting. Michael Hertler: I wondered why yours always looked so more complicated. Ben Strauss: Uh-huh huh huh. Tony Mcculley: I deleted slides. Michael Hertler: I think I added a slide one time. Jeffrey Cipriano: I added many slides every time Michael Hertler: Hey with the whole new background Jeffrey Cipriano: Yeah. Michael Hertler: being innovative, Tony Mcculley: That Michael Hertler: yeah Tony Mcculley: was pretty cool, Michael Hertler: that was Tony Mcculley: it Michael Hertler: class. Tony Mcculley: was a high moment of Michael Hertler: Mm. Tony Mcculley: the whole experiment. Jeffrey Cipriano: Um. Ben Strauss: Interesting. Any other thoughts come to mind? Michael Hertler: I wanna know how our product would fare. I Tony Mcculley: I Michael Hertler: can't Tony Mcculley: think Michael Hertler: just Tony Mcculley: it Michael Hertler: leave Tony Mcculley: would fail, Michael Hertler: it there. Tony Mcculley: I think it'd be a Michael Hertler: I Tony Mcculley: huge Michael Hertler: think Tony Mcculley: disaster, Michael Hertler: it would take extensive Tony Mcculley: especially Michael Hertler: marketing, Tony Mcculley: if it looks like that. Michael Hertler: okay, an apple with a red button on top, even I am sceptical. But you know the whole Jeffrey Cipriano: Even you. Michael Hertler: Yeah. Tony Mcculley: I don't we kind of designed it to look little bit like a face. Michael Hertler: I know it Ben Strauss: Yeah but Michael Hertler: is. Tony Mcculley: It's a happy face. Jeffrey Cipriano: Actually that looked a lot Michael Hertler: Mm. Jeffrey Cipriano: more like a tongue from previous to uh fr Ben Strauss: Builds. Jeffrey Cipriano: some other design uh modifications. Ben Strauss: Mm. Jeffrey Cipriano: I hope you appreciate the uh incorporation of some tin foil from a uh Michael Hertler: I Jeffrey Cipriano: random Kit-Kat Michael Hertler: I noticed Jeffrey Cipriano: bar that Michael Hertler: that. Jeffrey Cipriano: happened to be consumed. Michael Hertler: By accident. Ben Strauss: Interesting. Michael Hertler: Well huh. An interesting day all in all Ben Strauss: Uh, Tony Mcculley: Yeah, Michael Hertler: I Ben Strauss: yeah, Michael Hertler: would Tony Mcculley: it's Michael Hertler: say. Ben Strauss: I'd Tony Mcculley: uh Ben Strauss: say so. Jeffrey Cipriano: So again I reiterate my question of how different we are comp compared to the other groups, especially between culture groups and Michael Hertler: I Jeffrey Cipriano: what not. Ben Strauss: Mm, Michael Hertler: know. Ben Strauss: I know. Jeffrey Cipriano: Mm. Ben Strauss: It Tony Mcculley: I Ben Strauss: seemed Tony Mcculley: wanna Ben Strauss: like Tony Mcculley: see Ben Strauss: everything Tony Mcculley: a Michael Hertler: I Ben Strauss: flowed pretty logically. You know from the the the basics Michael Hertler: Yeah. Ben Strauss: to the conce although the whole concepts thing, the whole concepts phase, I don't think I really understood like the concept. Well Tony Mcculley okay Michael Hertler: 'Cause Ben Strauss: the notion Michael Hertler: it's such a Ben Strauss: of Michael Hertler: functional item. Ben Strauss: 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. Tony Mcculley: Yeah. Ben Strauss: 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 Michael Hertler: Mm. Ben Strauss: then the final would be like th the actual specified prototype or whatever, I dunno. But. Tony Mcculley: Hmm. Ben Strauss: All in all it's kinda interesting. Michael Hertler: Mm. Tony Mcculley: So we have more slides or? Ben Strauss: No just this closing one. No we've established that the costs weren't really within budget, but we could s you know Michael Hertler: We Ben Strauss: do Michael Hertler: got Ben Strauss: it Michael Hertler: it to be. Ben Strauss: We Michael Hertler: Like Ben Strauss: did Michael Hertler: cutting corners. Ben Strauss: the project evaluation based on um Sarah's evaluation of on Michael Hertler: Kind Ben Strauss: off switches Michael Hertler: of, though it was Ben Strauss: and Michael Hertler: really technically an evaluation of the product, not the project in general. Ben Strauss: Mm. Tony Mcculley: Mm. Michael Hertler: Which Ben Strauss: True. Michael Hertler: 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. Ben Strauss: Yeah. 'Cause we di we had a thu think about it. Um. Yeah. And it's all recorded, woo-hoo. Yeah Michael Hertler: Yay. Ben Strauss: what Tony Mcculley: Hmm. Ben Strauss: 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 Tony Mcculley: I Ben Strauss: because and if and so forth, but I'll put most of it in the reports. Tony Mcculley: It'd be so cool Michael Hertler: Make Tony Mcculley: if Michael Hertler: it Tony Mcculley: we Michael Hertler: sound Tony Mcculley: get Michael Hertler: eloquent. Tony Mcculley: a copy of the recording. Michael Hertler: Oh, I have to done I've I've done Ben Strauss: Nice. Michael Hertler: transcription before and it's really ridiculous how many words people say like Ben Strauss: Oh Michael Hertler: just Ben Strauss: yeah. Michael Hertler: in the middle of their sentences like that that mean nothing. Ben Strauss: There's a whole branch of psychology that looks into that, psycholinguistics. Jeffrey Cipriano: What Tony Mcculley: Really. Jeffrey Cipriano: the uhs Michael Hertler: There's a guy Jeffrey Cipriano: and Michael Hertler: studying Jeffrey Cipriano: the Michael Hertler: it here, yeah, he's studying ums Tony Mcculley: Filler Michael Hertler: and Tony Mcculley: words Michael Hertler: ahs Tony Mcculley: or? Michael Hertler: or something. Ben Strauss: Yep, they're called Michael Hertler: Yeah. Ben Strauss: um disfluencies. Tony Mcculley: Disfluencies. Michael Hertler: That's a good word for it. Ben Strauss: Yeah we like our fancy phrases and terminologies for things. Michael Hertler: Just add some prefixes, sounds classier. Ben Strauss: Exactly uh I will save this into the project Tony Mcculley: I find Ben Strauss: documents. Tony Mcculley: myself hitting the send and receive button on the email a lot, Michael Hertler: I, Jeffrey Cipriano: Mm. Tony Mcculley: just Ben Strauss: Yeah. Michael Hertler: yeah, Tony Mcculley: out Ben Strauss: Oh Tony Mcculley: of boredom, Ben Strauss: yeah. Michael Hertler: pretty compulsively Tony Mcculley: like c come on Michael Hertler: during Ben Strauss: Yeah Michael Hertler: meetings, Ben Strauss: I know. Michael Hertler: like, Tony Mcculley: gimme something. Michael Hertler: yeah. Ben Strauss: Come on give Michael Hertler some information. Well to be fair we're we're hooked we're all hooked on the internet, Michael Hertler: Yeah, Ben Strauss: so I mean I Michael Hertler: we Ben Strauss: do the Michael Hertler: are addicts. Jeffrey Cipriano: That's scary yeah? Tony Mcculley: It is scary. Michael Hertler: Mm. Jeffrey Cipriano: Well just around that eight or or Ben Strauss: I Jeffrey Cipriano: nine Ben Strauss: know, imagine Jeffrey Cipriano: people Ben Strauss: we went Jeffrey Cipriano: that Ben Strauss: the Jeffrey Cipriano: are Ben Strauss: first ten y fifteen years of our lives without the internet. It's only in the last ten that we're like where's Michael Hertler: Yeah. Ben Strauss: the internet? I mean, you know, it just in the past five we've gone Michael Hertler: I yeah. Ben Strauss: from twenty eight eight modems to broadband all the time. Jeffrey Cipriano: Dude, Michael Hertler: True. Jeffrey Cipriano: I think we've had internet for like eighteen years. Ben Strauss: No we have Michael Hertler: I Ben Strauss: but I not in the sense Michael Hertler: yeah. Ben Strauss: that it's so un you know Tony Mcculley: Yeah. Ben Strauss: uh ubiquitous Michael Hertler: But it's not regular I mean my grandparents had it in the eighties and I got it in ninety four, but still. Tony Mcculley: It's crazy. Michael Hertler: Uh-huh. Tony Mcculley: So Jeffrey Cipriano: In the eighties? Michael Hertler: My um grammy does computer science back in the States and so they had um an E_D_U_ and gov network. Ben Strauss: Mm. Michael Hertler: There's basically the fundamental structures, but it wasn't uh household to household yet Jeffrey Cipriano: Right. Michael Hertler: because it hadn't been Jeffrey Cipriano: Yeah, it was to the like seven Michael Hertler: partitioned Jeffrey Cipriano: universities Michael Hertler: off and stuff, Jeffrey Cipriano: or something. Michael Hertler: yeah that was him. Jeffrey Cipriano: You guys ready to celebrate? Ben Strauss: Yeah that's Michael Hertler: Apparently, Ben Strauss: our last step. Michael Hertler: does that include Ben Strauss: Celebration. Michael Hertler: like champagne or something exciting? Tony Mcculley: Should. Michael Hertler: I Ben Strauss: 'Kay Michael Hertler: think Ben Strauss: I guess Michael Hertler: so. Ben Strauss: we can probably call that meeting to an end Michael Hertler: I Ben Strauss: for Michael Hertler: think Ben Strauss: the most Michael Hertler: that's Ben Strauss: part. Michael Hertler: a closer. Ben Strauss: Cool. Tony Mcculley: Has it been forty minutes or whatever? this has been long enough. Jeffrey Cipriano: Celebrate. Ben Strauss: Where do you find that? Michael Hertler: I have no idea. Tony Mcculley: Is that the only song you have? Jeffrey Cipriano: There is another one. Ben Strauss: Is this one of those media player? Jeffrey Cipriano: Huh? Yep. Ben Strauss: W oh. Tony Mcculley: That's awesome. Ben Strauss: The default track. Tony Mcculley: Maybe I have Ben Strauss: I Tony Mcculley: a Ben Strauss: thought Tony Mcculley: different Ben Strauss: it was Tony Mcculley: one. Ben Strauss: 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. Michael Hertler: So is that a close? Ben Strauss: Yeah, I guess we'll call that Michael Hertler: Okay, Ben Strauss: a a Michael Hertler: that's Ben Strauss: doner. Michael Hertler: the end of the meeting. Ben Strauss: Fab. Michael Hertler: Thank you gentlemen. I feel like I'm signing off.

Ben Strauss 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). Jeffrey Cipriano and Tony Mcculley then presented the prototype that featured voice recognition, interchangeable cases, visible light, and a soft casing material. Ben Strauss presented what each component cost, which showed that the project was going over the alotted budget; the group decided to remove the solar panel. Michael Hertler 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. Ben Strauss summarized the proceedings of the meeting which will go into a final report, along with comments made during the project evaluation.

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train

Edmond King: Okay. Hi everybody and welcome to our kick-off meeting for our new product that we're gonna be designing. Um I'm Mandy and I'm Edmond King. And I know all your names again, Courtney, Leo Mcbride: Yep. Edmond King: Fenella and Amber. Daniel Brown: Yep. Edmond King: Alright. Okay, so first let's go through this PowerPoint. I wonder what button I press? Patrick Wolff: Just do it on the arrow. Edmond King: Yeah, or how about I just click? Okay, here is our agenda for this meeting. Um we're gonna start with our opening which was our introductions. We're gonna know other a bit better. Um tool training, we're going to, I guess, figure out what to do on this project with our individual roles. Um we're gonna make a project plan and then have some time for discussion and close up the meeting. Okay, here is our project. We're gonna make a new remote control that's um original, trendy and also user-friendly. And how we are going to do it is each of us is going to um We're gonna have discuss the functional design first, how is it gonna be used, what's the actual goal here, it has to operate T_V_, blah blah blah. And we're going to do individual work on that and then meet. Same thing with conceptual design. Just the basic overview of the project and then we're going to do individual work, meet. That's pretty much the the whole process for today. And then the detailed design, just more in-depth, get the actual schematics of the remote. Okay. Alright. First we're gonna start off by using our tools. And the whiteboard thing, do you guys wanna give that a try even though the ink wasn't working or do you wanna do it on here. Daniel Brown: I think we should forgo the Leo Mcbride: We Daniel Brown: can't Leo Mcbride: could Daniel Brown: actually see what we're. Leo Mcbride: Yeah, we could on. Edmond King: Alright, let's go forward then. Um right now so we're all gonna draw our favourite animal and then sum up our favourite characteristics of that animal. Even if you are not a good drawer like Leo Mcbride. Alright. Daniel Brown: Artistic skills, nil. Patrick Wolff: Fine. Edmond King: Um. Edmond King: Bless you. Leo Mcbride: Oh, thanks. Daniel Brown: I draw like I'm in grade five. Edmond King: Oh do I. Edmond King: 'Kay, about one more minute. Edmond King: Okay. Okay. And who would like to start us off? Leo Mcbride: I'll go. Edmond King: Alright. Leo Mcbride: Um this is my picture. I drew fish I like fish, because uh, you know, their whole water-vascular system thing. It's pretty cool, and um they've got a pretty good habitat and they are pretty sometimes, sometimes vicious but that's okay. Yeah. Edmond King: Only if they're piranhas. Leo Mcbride: Yeah, they they're easy, you know. Yeah. Edmond King: Alright. Who wants to go next? Daniel Brown: I'll go. I drew a kitty. It's pretty much impossible to tell that's a cat, but Leo Mcbride: No I Patrick Wolff: No, Daniel Brown: I Leo Mcbride: I Patrick Wolff: I kne Leo Mcbride: see Daniel Brown: love Patrick Wolff: I Leo Mcbride: it. Edmond King: No, Patrick Wolff: knew. Daniel Brown: cats. Edmond King: it looks like a cat. Daniel Brown: I love cats because they're independent, uh they pretty much know what they want, they get it, they move on. Edmond King: I love cats, too. Patrick Wolff: Yeah. Edmond King: I'm a cat person. Leo Mcbride: I'm allergic to cats. Patrick Wolff: Ah. Edmond King: Uh. Daniel Brown: I'm allergic to cats, too. Leo Mcbride: Oh, okay. Edmond King: If Patrick Wolff: In Edmond King: you're Patrick Wolff: my next Edmond King: around one Patrick Wolff: life. Edmond King: I had a roommate who was um allergic, but if she was around my cat forever she became used to Leo Mcbride: Yeah, Edmond King: it, you Leo Mcbride: yeah, Edmond King: know, Leo Mcbride: if you're Edmond King: it's weird. Leo Mcbride: around them for a long period of time Daniel Brown: I still Edmond King: Okay. Daniel Brown: can't sleep with them in my room. Leo Mcbride: Oh, yeah, this summer I, oh I had to live with cats. It was crazy. Yeah. Edmond King: Okay, Fenella? Patrick Wolff: Um, I drew a badger. Leo Mcbride: Cool. Daniel Brown: Yay. Edmond King: Badger. Patrick Wolff: Well, yeah. Edmond King: Good choice. Why a Patrick Wolff: Uh Edmond King: badger? Patrick Wolff: I dunno, they're grumpy and nocturnal and Daniel Brown: Are you trying to suggest something? Patrick Wolff: Well, a little bit like the Yes. Um. And then, if you know Wind in the Willows badger. Leo Mcbride: Oh, okay. Patrick Wolff: Yeah and then uh I don't know if you know Brian. Edmond King: Alright. Patrick Wolff: Um, that kind of books. Badgers are cool in that one too. Edmond King: Okay. And I'm last. 'Kay. Look at my sad sad Leo Mcbride: No, Edmond King: giraffe. Leo Mcbride: that's good. Edmond King: No, no, no, it ends up looking like some kind of a dinosaur, but whatever. I don't know even much about giraffes, but I just love the way they look. They're just such odd creatures, you know. I I like that they're so unique and individual, I guess. I don't know much about their behaviour or anything, though. Only seen a couple Leo Mcbride: You Edmond King: in Leo Mcbride: don't Edmond King: zoos. Leo Mcbride: really have to, I Edmond King: Yeah, Leo Mcbride: mean, Edmond King: but you can Leo Mcbride: if you Edmond King: appreciate Leo Mcbride: like 'em Edmond King: the way they look. Okay. Alright. Guess we're getting straight back into business here. Um the selling price for our remote is going to be twenty-five Euro, and our profit aim is fifty million Euro. We're going to make this an international product marketed in the States, in Europe, in Asia. And um our production cost to make that profit is gonna be a max of twelve fifty Euro per remote. Okay. So we're gonna talk for a little while. Um here are some topics that we might be able to discuss. Expe our experiences with remote controls um, our first ideas about this new remote, anything that you can bring to the table for this project. So. Patrick Wolff: Now? Edmond King: Yeah. You wanna start us off? Anybody have anything to offer? Daniel Brown: Well, we wanna make a multifunctional remote, right? Edmond King: Right. Daniel Brown: One remote for everything. Patrick Wolff: And Leo Mcbride: Right. Patrick Wolff: everything being Wait, Daniel Brown: Um. Patrick Wolff: we have what, sound system, T_V_, D_V_D_, V_H_S_, uh Daniel Brown: I think they'll be phasing Patrick Wolff: TiVo? Daniel Brown: V_H_S_ Leo Mcbride: Yeah, TiVo. Daniel Brown: out shortly. Edmond King: TiVo. Patrick Wolff: But it's still there, so Daniel Brown: Okay. Patrick Wolff: if po if we're gonna do it Leo Mcbride: It needs to be compatible 'cause universal remote controls are never universal. Edmond King: They're never universal. That's right. Esp e especially if you buy a a not big product, D_V_D_ player, say, usually it doesn't work Patrick Wolff: Or if Edmond King: if Patrick Wolff: it's Edmond King: it's Patrick Wolff: not Edmond King: not Patrick Wolff: like a Edmond King: one Patrick Wolff: Sony, Edmond King: of the Patrick Wolff: if it's like Edmond King: Yeah. Patrick Wolff: a I Edmond King: Yeah. Patrick Wolff: don't know. Edmond King: Something Daniel Brown: So Edmond King: from Daniel Brown: we'll have Edmond King: Sam's Daniel Brown: to figure Edmond King: club. Daniel Brown: it how to cover all the different variances in signals. Edmond King: Yeah. Leo Mcbride: And what we need an insanely good instruction booklet, because you always have to reconfigure all your Edmond King: Yeah. Leo Mcbride: contraptions to go with the remote anyways. Edmond King: 'Kay, and um another thing that I think is important is the d the design of the product, how it feels in your hand. If it's just flat and kind of boring th those don't Nobody wants to buy those any more. They want the ergonomic ones. Leo Mcbride: They want like the flashy Edmond King: Yeah. Leo Mcbride: lights. Oh like this came Edmond King: Ones Leo Mcbride: from Las Edmond King: that Leo Mcbride: Vegas. Edmond King: ones that look high-tech, too. Patrick Wolff: But at the same time are simple. Leo Mcbride: Mm Edmond King: Right. Leo Mcbride: yeah. Edmond King: So that Daniel Brown: What Edmond King: people Daniel Brown: about something Edmond King: like my mother Daniel Brown: with the curvature Edmond King: can use it. Daniel Brown: like that matches the curvature of a hand? Edmond King: Yeah. 'Kay. Anybody have any experiences with remote controls that they can remember that Patrick Wolff: Just bad ones. Edmond King: Yeah. That's true. Patrick Wolff: Um. Daniel Brown: What kinda battery would we want to use? Because battery Patrick Wolff: D Daniel Brown: changing is Patrick Wolff: Double Daniel Brown: usually Patrick Wolff: A_. Leo Mcbride: Double A_. Daniel Brown: Okay. Edmond King: Do some of them use triple A_s though? Leo Mcbride: Yeah some use triple A_s. Patrick Wolff: Some Leo Mcbride: So Edmond King: Okay. Patrick Wolff: but Leo Mcbride: double or triple? Patrick Wolff: Yeah, I guess then it's If we need to do triple A_ we can, but most people usually have double A_s around. Edmond King: Okay. Yeah. But that has to do with the size of it too. Patrick Wolff: Right. Daniel Brown: Yeah. Edmond King: Well, w as long as we know that issue is Leo Mcbride: Yeah, if we Edmond King: Here Leo Mcbride: want it Edmond King: we Leo Mcbride: to Edmond King: can Leo Mcbride: be more thin, then we'd probably wanna go with a triple Edmond King: Triple Leo Mcbride: A_. Edmond King: A. Daniel Brown: Can Edmond King: But Daniel Brown: you with a small lithium battery? Edmond King: it's okay, we don't have to decide about it now, just as long as we remember battery type and size is important. Hey. Anything else? Alright. Moving along. Oh, we're closing the meeting. Next meeting is gonna start in thirty minutes. Um the I_D_, which is who? Okay, you're going to think about the working design. What do you think that means? Okay. And U_I_D_, Patrick Wolff: Mm-hmm. Edmond King: the technical fun functions design, making sure it does everything that we need the remote to do, the functionality of it, operating all those different things. Okay. And the marketing person, that's Courtney, is going to do the user requirements specification. I guess that means specifying um what exactly the user is going to be looking for. Right? Leo Mcbride: Right. Edmond King: I would think so. Okay. And you're gonna get more specific instructions emailed to you in just a little while. Okay, so does anybody have anything they wanna say before we close the meeting? Okay. This meeting is officially over.

Edmond King introduced the project to the group and gave an agenda for the project as a whole. She then introduced a tool training exercise to acquaint the group with the meeting-room tools and to help them get to know each other. Edmond King then presented the project budget to the group and presented the projected profit aim, the production cost, and the price point of the device. The group then began a discussion about features of remote controls and their own experiences with them. They discussed making the remote universally compatible and ergonomically-designed, and types of batteries to use. Edmond King instructed Daniel Brown to work on the internal working design of the device. Patrick Wolff was told to work on the technical function design, and Leo Mcbride was instructed to research the needs of users.

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train

Paul Calles: 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? Garry Broadnax: I don't Paul Calles: 'Kay. Garry Broadnax: mind going first. Paul Calles: Okay. Um do you have a PowerPoint or no? Garry Broadnax: Yeah, it's in the should be in the m Paul Calles: Okay. Garry Broadnax: Project. Lester Orr: Do you want us to do our PowerPoints now Garry Broadnax: You Lester Orr: or Garry Broadnax: know you could you could do it yourself actually. Paul Calles: Oh. Jeffrey Oconnell: Did you send it? Paul Calles: Save Garry Broadnax: Put it Paul Calles: it Garry Broadnax: in Paul Calles: in the Garry Broadnax: Project Paul Calles: project documents. Garry Broadnax: Documents, yeah. Paul Calles: Okay. Paul Calles: Mm-mm-mm. This one? Garry Broadnax: Sure. Paul Calles: Okay. Garry Broadnax: Yeah. Jeffrey Oconnell: Okay. Garry Broadnax: Okay. Jeffrey Oconnell: Great. Garry Broadnax: 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 Paul Calles: Okay. Garry Broadnax: want to include that on the remote, if that's something that would stay on the T_V_ itself, for example. Paul Calles: Okay. Garry Broadnax: 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. Paul Calles: Right. Garry Broadnax: 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. Paul Calles: Ready. Garry Broadnax: 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. Paul Calles: Alright. Very good presentation. Thank you. You speak with such authority on the matter. Garry Broadnax: Mm. Paul Calles: Okay. Garry Broadnax: Left. Paul Calles: Who would like to um follow that one up? Now, that we've Lester Orr: I Paul Calles: discussed Lester Orr: can go. Paul Calles: Okay. Do you want Lester Orr to run it or you Lester Orr: Yeah, Paul Calles: wanna Lester Orr: you should run it. Paul Calles: Okay. Functional requirements. Lester Orr: Mm yes. Paul Calles: 'Kay. Paul Calles: Alright. Now we have Courtney with the functional requirements. Lester Orr: 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. Garry Broadnax: Wait. Lester Orr: And we need we need it to be simple, yet it needs to be high-tech looking. So Garry Broadnax: And that meaning what? Lester Orr: Like They like I guess use the buttons a lot. Garry Broadnax: Okay. Lester Orr: Yeah. I don't know. It's from my uh research. Garry Broadnax: Right. Paul Calles: Okay, what Lester Orr: My Paul Calles: do you Lester Orr: team Paul Calles: m Lester Orr: wasn't very Garry Broadnax: Only Lester Orr: clear. Garry Broadnax: use Paul Calles: Oh, Garry Broadnax: ten Paul Calles: I'm Garry Broadnax: percent Paul Calles: sorry. Garry Broadnax: of the Lester Orr: That's Garry Broadnax: buttons. Lester Orr: okay. Paul Calles: What do you mean by um the current remote controls do not match well with the operating behaviour of the user, like they Lester Orr: I Paul Calles: have to press Lester Orr: I Paul Calles: the buttons. Lester Orr: think it's like the engineering versus user, Paul Calles: Okay. Lester Orr: whereas like the engineering she showed that the engineering ones are more complex Paul Calles: Oh, right. Lester Orr: and users don't really need all of the Paul Calles: The Lester Orr: buttons Paul Calles: buttons. Lester Orr: that are contained on there, Paul Calles: Okay. Lester Orr: because they only use ten percent of the buttons really. Paul Calles: Yeah. Okay. Jeffrey Oconnell: We only use ten per cent of our brains. Lester Orr: Good point. Paul Calles: It works. Lester Orr: It's a necessary evil. Jeffrey Oconnell: yeah. Paul Calles: Ready for the next slide? Lester Orr: 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, Paul Calles: Hmm. Lester Orr: much like any small appliance Garry Broadnax: Lost. Lester Orr: 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 Garry Broadnax: S Lester Orr: 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. Paul Calles: It's okay. It's Lester Orr: Yes, Paul Calles: very important. Lester Orr: it is important for the remote control world. Garry Broadnax: Wait, is that like your ergonomics Lester Orr: Sh Garry Broadnax: like your hand movements or something? Paul Calles: Could be, Lester Orr: Uh Paul Calles: yeah. Lester Orr: possibly. Jeffrey Oconnell: Do we really need t to provide more information on Garry Broadnax: Like Jeffrey Oconnell: what R_S_I_ is? Paul Calles: Oh. Lester Orr: Uh yeah, that's what my web site said, I Garry Broadnax: Channel, volume, power. Lester Orr: don't Paul Calles: I think that's Lester Orr: know. Paul Calles: a pretty good guess though. Lester Orr: Yeah, I would assume so. I Garry Broadnax: It's Lester Orr: think Garry Broadnax: like Lester Orr: we're Garry Broadnax: if you're Lester Orr: supposed Garry Broadnax: holding Lester Orr: to know it Garry Broadnax: it Lester Orr: as remote control experts. Paul Calles: Yeah. Lester Orr: But Paul Calles: It's Lester Orr: also Paul Calles: okay. Lester Orr: 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. Paul Calles: Okay. Next slide? Lester Orr: 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. Paul Calles: User-friendly. Lester Orr: 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 Paul Calles: And so just Lester Orr: we could Paul Calles: to Lester Orr: consider it. Paul Calles: just to clarify by speech recognition you mean they would say, channel five, and the thing would Lester Orr: I Paul Calles: go Lester Orr: guess Paul Calles: to channel Lester Orr: so, Paul Calles: five? Lester Orr: yeah. Paul Calles: Okay. Garry Broadnax: to just say, where are you, and thing beeps, you know. Lester Orr: Yeah, I guess Paul Calles: Oh, Lester Orr: we can interpret Paul Calles: that'd Lester Orr: it Paul Calles: be Lester Orr: like, Paul Calles: lovely. Lester Orr: we can just try out different types of speech Garry Broadnax: Yeah. Lester Orr: recognition within our Paul Calles: Didn't Lester Orr: remote Paul Calles: they Lester Orr: programme. Paul Calles: 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 Garry Broadnax: It's Paul Calles: have Garry Broadnax: kinda Paul Calles: lost Garry Broadnax: like what Paul Calles: it Garry Broadnax: the remote phone used to do. Paul Calles: Mm. Oh, yeah, that's Garry Broadnax: You Paul Calles: true. Garry Broadnax: know like Paul Calles: We could Garry Broadnax: go Paul Calles: definitely Garry Broadnax: to the Paul Calles: include Garry Broadnax: base. Paul Calles: that if we wanted to. Garry Broadnax: Yeah. Paul Calles: If it's within our price. Okay. Are we ready for our last presentation, Amber? Jeffrey Oconnell: Yeah, I'm just trying to move it. Paul Calles: Okay. Jeffrey Oconnell: 'Kay. I think it should be there, Garry Broadnax: Working Jeffrey Oconnell: working Garry Broadnax: design. Jeffrey Oconnell: design. Paul Calles: There we go. 'Kay. Jeffrey Oconnell: 'Kay. Uh I didn't get a chance Paul Calles: Oh Jeffrey Oconnell: to complete Paul Calles: my Jeffrey Oconnell: this Paul Calles: bad. Jeffrey Oconnell: one, 'cause some of the tools that I was given were frustrating. Lester Orr: Oh that's fine. Garry Broadnax: Help Jeffrey Oconnell: okay Garry Broadnax: Lester Orr. Jeffrey Oconnell: 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. Lester Orr: What exactly is a smart chip? Jeffrey Oconnell: Usually a smart chip is just a chip that's been programmed and designed so that it can complete a fair range of functions. Garry Broadnax: Well, how much extra would the additional chip be? Is that gonna push us over our production costs? Jeffrey Oconnell: I wouldn't think so, 'cause we could probably get it from like, in bulk, from a a newer company. Garry Broadnax: Mm-hmm. Jeffrey Oconnell: And they tend to sell their chips pretty cheap. Paul Calles: Okay. Ready? Jeffrey Oconnell: Um yep, nothing here. Paul Calles: That's okay. Jeffrey Oconnell: 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. Paul Calles: Hmm. Jeffrey Oconnell: 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. Lester Orr: So what exactly we are looking at, is this like the front of the Jeffrey Oconnell: This is just like Lester Orr: remote? Jeffrey Oconnell: a rough schematic. Paul Calles: So Jeffrey Oconnell: So this Paul Calles: this Jeffrey Oconnell: is Paul Calles: would Jeffrey Oconnell: the Paul Calles: be Jeffrey Oconnell: internal Paul Calles: the front? Jeffrey Oconnell: workings. Paul Calles: So Lester Orr: Oh Paul Calles: the Lester Orr: okay. Paul Calles: red would be the front of the remote though, Jeffrey Oconnell: Yeah. Paul Calles: right? Garry Broadnax: Yeah, Paul Calles: Okay. Garry Broadnax: 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 Paul Calles: The l Lester Orr: Like Garry Broadnax: reassurance. Lester Orr: that we Paul Calles: the Lester Orr: know Jeffrey Oconnell: Yeah, Lester Orr: the battery's Jeffrey Oconnell: so Paul Calles: light Jeffrey Oconnell: you don't Paul Calles: up Lester Orr: working. Jeffrey Oconnell: have to stare Paul Calles: kind of Jeffrey Oconnell: at that infra-red, 'cause Paul Calles: Yeah. Jeffrey Oconnell: you know when the battery starts dying in your remote currently, you have to actually stare at that bulb and go, okay, Paul Calles: Hmm. Jeffrey Oconnell: when I push this button, is it working? Lester Orr: Okay. Paul Calles: It'd probably be Jeffrey Oconnell: We Paul Calles: lighting Jeffrey Oconnell: can skip Paul Calles: up the key Jeffrey Oconnell: that whole thing. Paul Calles: too, right? Jeffrey Oconnell: Yep. Lester Orr: Yeah. Garry Broadnax: Yeah. Paul Calles: 'Kay. Jeffrey Oconnell: So you can Paul Calles: The buttons. Jeffrey Oconnell: put it in the dark. Lester Orr: Yeah, and that's good. We Paul Calles: Okay. Lester Orr: should make it glow in the dark. Paul Calles: Yeah, definitely. 'Kay nex R Ready? Jeffrey Oconnell: Yeah, that's it. Paul Calles: 'Kay, any p Lester Orr: Mm 'kay. Paul Calles: 'Kay? Anything you wanna add for personal preferences though, you f you said already that we needed a large on-off button, you think. Jeffrey Oconnell: I Paul Calles: Anything Jeffrey Oconnell: think Paul Calles: else? Jeffrey Oconnell: that that's a good idea, because you know that's one of the most Garry Broadnax: Just Jeffrey Oconnell: important buttons. Paul Calles: Okay. Garry Broadnax: 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? Lester Orr: 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, Paul Calles: Mm. Lester Orr: I think we should do something like Garry Broadnax: Ovals. Lester Orr: maybe bigger and round like Garry Broadnax: Yeah, Lester Orr: bubbles. Garry Broadnax: yeah. Paul Calles: 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. Jeffrey Oconnell: Okay. Paul Calles: 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? Garry Broadnax: Yeah. Paul Calles: in States we don't have it, but Garry Broadnax: I Lester Orr: What Paul Calles: um Garry Broadnax: know. Lester Orr: is it? Paul Calles: 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, Garry Broadnax: Yeah, it's like Paul Calles: not Garry Broadnax: black, Paul Calles: even Yeah, Garry Broadnax: black and Paul Calles: just Garry Broadnax: white kind Paul Calles: black Garry Broadnax: of Paul Calles: with just Lester Orr: Like running Paul Calles: text. Lester Orr: along the bottom? Paul Calles: Yeah. Jeffrey Oconnell: You can Garry Broadnax: It'll Jeffrey Oconnell: also Garry Broadnax: give Jeffrey Oconnell: get Garry Broadnax: you Jeffrey Oconnell: the kind of the Garry Broadnax: the Jeffrey Oconnell: T_V_ guide Garry Broadnax: sports. Jeffrey Oconnell: so Lester Orr: Wait, is it like the Weather Channel where it's got like the ticker running on the bottom Paul Calles: Kind Garry Broadnax: Except Lester Orr: or Paul Calles: of. Lester Orr: something? Garry Broadnax: the entire screen. Jeffrey Oconnell: It's the entire Paul Calles: Yeah it's Jeffrey Oconnell: screen Paul Calles: the whole screen. Jeffrey Oconnell: is just running information at random. Garry Broadnax: You can Paul Calles: So Garry Broadnax: pick Paul Calles: anyway Garry Broadnax: sports, Jeffrey Oconnell: Seemingly. Garry Broadnax: you can pick the news, you entertainment, you know it's like Lester Orr: So it's like Paul Calles: Right. Lester Orr: a separate channel from like what Paul Calles: Right. Lester Orr: you're watching? Garry Broadnax: Yeah. Paul Calles: 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. Lester Orr: Okay. Jeffrey Oconnell: Okay. So, Paul Calles: Alright. Jeffrey Oconnell: do we have to Paul Calles: Mm-hmm. Jeffrey Oconnell: include the company colour within that? Paul Calles: Yes. It's part of the logo. Okay. Garry Broadnax: Company colour being yellow. Paul Calles: 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. Paul Calles: So our target group is You mentioned um older people? Garry Broadnax: Mm-hmm. Paul Calles: Would it just be universal for everyone, you think? Because I think even if something has large buttons, Garry Broadnax: It's gonna Paul Calles: as Garry Broadnax: make Paul Calles: long Garry Broadnax: it Paul Calles: as they are not Garry Broadnax: nicer. Paul Calles: childishly large, like even Garry Broadnax: Yeah. Paul Calles: technically non-technically challenged people are gonna use it. I mean they want something user-friendly, so Jeffrey Oconnell: 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 Paul Calles: Yeah. Jeffrey Oconnell: they're saying they only use ten per cent of them, Paul Calles: Yeah. Jeffrey Oconnell: then we should be able to accommodate fairly decent sized buttons. Paul Calles: 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? Lester Orr: No, kids need to know how to use a remote, Jeffrey Oconnell: Most Lester Orr: I would Jeffrey Oconnell: of them Lester Orr: think. Jeffrey Oconnell: will intuitively Lester Orr: They gotta Jeffrey Oconnell: pick Lester Orr: change Jeffrey Oconnell: it up Lester Orr: between Jeffrey Oconnell: though. Lester Orr: Disney Channel, Cartoon Network. Paul Calles: Okay, so we're going to go anywhere from Lester Orr: Yeah, Paul Calles: kids Lester Orr: I think we need it Paul Calles: to Lester Orr: all. Paul Calles: 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? Lester Orr: Um I would say we should say dumber than the average person. Garry Broadnax: We Paul Calles: Okay. Garry Broadnax: should go for the lowest denominator. Lester Orr: Yeah. Paul Calles: Right, okay. Garry Broadnax: High Paul Calles: So Garry Broadnax: school educated. Paul Calles: so they need no technical experience to operate Jeffrey Oconnell: how 'bout little to no, because there is no way that you are gonna be able to make it no. Paul Calles: 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. Garry Broadnax: Well it's channel, on-off button, Paul Calles: Mm-hmm, Garry Broadnax: volume, Paul Calles: volume. Garry Broadnax: mute. Lester Orr: And channel. Yeah. Those are the most important ones. Paul Calles: 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. Lester Orr: Yeah. Paul Calles: 'Kay. Hey, what Garry Broadnax: Um. Paul Calles: else? Paul Calles: Um. Jeffrey Oconnell: Do we want this thing to be able to be found easily? Paul Calles: I think so. What do you Lester Orr: Sure, yeah. Paul Calles: A finding Jeffrey Oconnell: And Lester Orr: I need Paul Calles: kind Lester Orr: we Paul Calles: of Lester Orr: we need a Paul Calles: device Jeffrey Oconnell: like Lester Orr: like Paul Calles: or Jeffrey Oconnell: if Lester Orr: homing Paul Calles: Yeah, Jeffrey Oconnell: this is Garry Broadnax: Oh Lester Orr: device. Jeffrey Oconnell: gonna Paul Calles: ho Garry Broadnax: right Jeffrey Oconnell: get Garry Broadnax: yeah Jeffrey Oconnell: lost Paul Calles: homing Garry Broadnax: okay. Jeffrey Oconnell: underneath Paul Calles: device. Jeffrey Oconnell: the coach, how are we going to accommodate the quick Paul Calles: Mm Jeffrey Oconnell: ability Paul Calles: 'kay. Jeffrey Oconnell: to find Garry Broadnax: Tracking. Jeffrey Oconnell: it? Lester Orr: Because Paul Calles: Okay. Lester Orr: people really are looking for a remote that's more high-tech. Paul Calles: Right. Jeffrey Oconnell: 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, Garry Broadnax: But Jeffrey Oconnell: and Garry Broadnax: you Jeffrey Oconnell: if Garry Broadnax: got Jeffrey Oconnell: you d Garry Broadnax: a base. Jeffrey Oconnell: leave your phone somewhere, you push the button to find it, and it finds th the phone beeps for you. Lester Orr: Because Jeffrey Oconnell: It's useful for the remote phone. Paul Calles: Hmm. Lester Orr: Yeah. Paul Calles: Would that add to our costs at all, I wonder? Lester Orr: I would think so, because you'd have to develop a base. Paul Calles: Right. Garry Broadnax: Well, if you have the base, you could start putting in a charger and then you have a different kind of battery. Jeffrey Oconnell: Yeah. Lester Orr: Hmm. Jeffrey Oconnell: Rechargeable batteries are cheaper usually. Garry Broadnax: Yeah. Paul Calles: 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 Lester Orr: Right. Paul Calles: that. Lester Orr: Do w Garry Broadnax: 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 Paul Calles: Mm. Garry Broadnax: demo demographic. Lester Orr: 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 Paul Calles: You could um Lester Orr: It Paul Calles: we Lester Orr: wouldn't Paul Calles: could Lester Orr: copy Paul Calles: hook it up. Lester Orr: onto the Paul Calles: Oh. Lester Orr: 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. Paul Calles: Mm-hmm. Lester Orr: They're the ones that get addicted to soap operas and Garry Broadnax: Well Paul Calles: And Lester Orr: just Paul Calles: if Lester Orr: sitcoms and stuff. Paul Calles: and if we introduced it when they're this age, they're going to probably always buy a remote Lester Orr: Right. Paul Calles: that has Lester Orr: So Garry Broadnax: 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, Paul Calles: Right. Garry Broadnax: whereas if you just speak in general and you don't have to have the remote in your hand and like talk at it. Paul Calles: Yeah. and the speech recognition could be part of the lost and found device, too. If we said, Lester Orr: Right. Paul Calles: find remote, locate remote, or something. A certain phrase then it could beep. I dunno. Just throwing it out there. Lester Orr: Yeah. Paul Calles: Well Garry Broadnax: Still fifteen minutes. Um. Paul Calles: Okay, anything else we wanna discuss? Garry Broadnax: Well, do we wanna include the numbers like zero through nine? Can we conceive of leaving them out? Paul Calles: Um. Lester Orr: Wait, on the remote itself? Garry Broadnax: Yeah, like you have one, two, three, four, five, six, seven, eight, nine, zero. Lester Orr: Well, Paul Calles: How Lester Orr: we definitely need those. Paul Calles: how, yeah, how Jeffrey Oconnell: Yeah. Paul Calles: would you leave those out? Garry Broadnax: Well, I don't know, I mean, if you can like well I don't Paul Calles: Unless Garry Broadnax: know, Paul Calles: you Garry Broadnax: if Paul Calles: could Garry Broadnax: there's Paul Calles: say Garry Broadnax: just a Paul Calles: the Garry Broadnax: way Paul Calles: channel. Garry Broadnax: of leaving them out? Jeffrey Oconnell: I think people would find that too foreign. Lester Orr: Yeah. Paul Calles: Yeah, that's true. Lester Orr: You Paul Calles: And Lester Orr: definitely need Paul Calles: 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_. Jeffrey Oconnell: It's when we get satellite. Paul Calles: Mm. get your own remote, or digital cable. Jeffrey Oconnell: Yeah. Paul Calles: '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. Jeffrey Oconnell: Yeah, 'cause I don't have any material pricing information available to Lester Orr at the moment, so Paul Calles: 'Kay. And don't forget we need to include the colour of our company and the logo. Garry Broadnax: The colour Lester Orr: Wait. Garry Broadnax: being yellow? Paul Calles: I'm guessing. Garry Broadnax: And how Lester Orr: I feel Garry Broadnax: do Paul Calles: And Garry Broadnax: we Lester Orr: like Paul Calles: the R_R_. Lester Orr: a ye I feel Jeffrey Oconnell: R_ Lester Orr: like a Jeffrey Oconnell: the Lester Orr: yellow Jeffrey Oconnell: double Lester Orr: one Jeffrey Oconnell: R_. Lester Orr: would be too garish. Paul Calles: We could just Garry Broadnax: Can't Paul Calles: have the Garry Broadnax: make Paul Calles: logo Garry Broadnax: it entirely Paul Calles: in yellow, or maybe a Jeffrey Oconnell: Or Paul Calles: yellow Jeffrey Oconnell: is the Paul Calles: light Jeffrey Oconnell: l Paul Calles: for the keys. Lester Orr: Or put like stripes, oh yeah, yellow Jeffrey Oconnell: Yeah, Lester Orr: lights. Jeffrey Oconnell: yellow could be and it could doesn't have to be huge. Lester Orr: Yeah. Garry Broadnax: 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_. Paul Calles: Right. So we've simplified, we don't need all those um play, fast-forward, rewind, Garry Broadnax: Right, yeah. Lester Orr: Yeah. Paul Calles: 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. Lester Orr: Yeah. Paul Calles: Um can we go back to I'm gonna look really quickly back at those Garry Broadnax: Two examples. Paul Calles: examples Garry Broadnax: Yeah. Paul Calles: and see if there is anything. Which one is yours, technical functions Garry Broadnax: Oh, it's Paul Calles: or Garry Broadnax: a Paul Calles: functional Garry Broadnax: Yeah. Paul Calles: requirement? Okay. Lester Orr: 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 Paul Calles: The T_V_. Lester Orr: itself? Paul Calles: 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? Garry Broadnax: 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 Paul Calles: Hmm. Garry Broadnax: occasionally you will use. Lester Orr: Yeah, 'cause Garry Broadnax: and Lester Orr: we need Garry Broadnax: so Lester Orr: to Garry Broadnax: it's like Lester Orr: 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. Paul Calles: Couldn't we do that all through one button, something, Garry Broadnax: I don't well, Paul Calles: a menu Garry Broadnax: I don't know. Paul Calles: button, that pops up with a menu on the T_V_ that says, you know, audio, video, whatever, language, you know? Garry Broadnax: Right. Lester Orr: So we need up, down, and side-to-side buttons. Garry Broadnax: Well, that Paul Calles: For Garry Broadnax: could be Paul Calles: the menus. Garry Broadnax: No you could just double up with like the channel or the volume buttons. Jeffrey Oconnell: Mm-hmm. Paul Calles: That's true. Lester Orr: Yeah, Garry Broadnax: Channel Lester Orr: okay. Garry Broadnax: is just up and down. Lester Orr: Okay, yeah. Garry Broadnax: And then add a Paul Calles: Something that Lester Orr: Such as, yeah, the Paul Calles: looks Lester Orr: one Paul Calles: mayb you know. Lester Orr: the one over there on the left the engineering Paul Calles: Y Lester Orr: centred Paul Calles: right, Lester Orr: one. Paul Calles: right Garry Broadnax: Yeah. Paul Calles: right right. That one? Garry Broadnax: So we just have it like add a menu button then for the various things needed, Paul Calles: Right. Garry Broadnax: including v Paul Calles: In Garry Broadnax: voice Paul Calles: the middle Garry Broadnax: recognition if we have Paul Calles: perhaps. Garry Broadnax: any like settings for voice recognition now included in the menu. Paul Calles: Yep. Lester Orr: Ooh, I just got an idea for a design. Paul Calles: good. Paul Calles: Anybody have anything else they'd like to bring up in this meeting? Jeffrey Oconnell: I had something, but I forgot. Paul Calles: 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.

Garry Broadnax 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. Lester Orr 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. Jeffrey Oconnell 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. Paul Calles 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. Paul Calles instructed Jeffrey Oconnell to prepare the components concept, Garry Broadnax to prepare the interface concept, and Lester Orr to prepare a trendwatching report.

amisum

train

Rob Ray: Okay. Hi Team. Hope you had a good. Okay we're back for the conceptual design meeting. Um let's get started. 'Kay, here is the agenda for today's meeting. Um we're gonna open it and I'm gonna keep the minutes as Project Manager. We're gonna have three presentations, one from each of you again. And then we are going to come to decision on the remote control concepts and then we're gonna close it up. And we have forty minutes again. 'Kay, just to reiterate after meeting team will reach a decision on the concepts of the remote control. Okay. Let's go ahead and start off with your presentations. Who would like to go first? Brent Hoffman: Just trying to move mine right now. Rob Ray: Okay. Um Courtney would you mind starting us James Sloan: Yeah. Rob Ray: off? Okay. Trend watching? James Sloan: Yeah. Rob Ray: 'Kay. James Sloan: Okay, so trend watching. Uh since we do put the fashion in electronics, it is kind of important how our product looks. So I guess we can go ahead and go to the next. So what they want. Right now customers want fancy versus functional. Um basically about fifty eight percent of what they like of the product that they want, describing like the in order of how much they want, fifty per of the decision of what it should look like, fancy versus functional, and then it has to also be technologically innovative, and yet easy to use. So the customer basically is confused. They don't know exactly what they want. They want us to tell them. Brent Hoffman: They want everything, but James Sloan: Yes. Brent Hoffman: simply. James Sloan: Exactly. Brent Hoffman: Okay. James Sloan: So we can go to next. Rob Ray: Mm 'kay. James Sloan: Okay. So in Milan and Paris recently the trends have been showing that clothing, shoes and furniture are basically just covered with fruits and vegetable patterns. So I don't know if we want to go with that um and also the spongy feel is in in contrast to last year. I don't know really, I mean I guess the spongy could relate to the buttons Rob Ray: Mm. James Sloan: if we want to rather Rob Ray: Mm. James Sloan: than like a hard clicky button that you find on like some mobiles and stuff, you'd want like a softer touch. I mean do you guys know what I mean. Rob Ray: Right. Brent Hoffman: Yeah Rob Ray: Yes. James Sloan: Yeah. Brent Hoffman: th James Sloan: Um. But as for the fruits and vegetable patterns, I don't know if we really want to go with that, because it is just a trend, and Rob Ray: Right. James Sloan: our product we want to stay around for much longer than just a few months, Rob Ray: Right. James Sloan: because Rob Ray: People Brent Hoffman: I Rob Ray: don't Brent Hoffman: I Rob Ray: buy Brent Hoffman: can Rob Ray: a new remote James Sloan: Yeah. Rob Ray: every James Sloan: I mean Rob Ray: so James Sloan: that could Rob Ray: often. James Sloan: just be a Spring thing right now. Brent Hoffman: I can address some of that issue, I think, with uh my presentation. James Sloan: Okay. Awesome. Rob Ray: Okay. James Sloan: Um so design preferences, um we need easy to read like large buttons, clearly labelled so that, I mean 'cause we talked about that being a problem. Um and then also buttons illuminating upon touch, you said that in your design, with the bulb. Um and that could also tie in with the colour scheme. Uh we need the Real Reaction logo and colour scheme obviously. That's one of our key goals, we wanna promote our product. And I was thinking about different types of designs and I came up with something. Actually right here. So what we could do is something like an old-fashioned telephone like this, where we put the buttons around, like we'd put a big on-off button or something else in the middle, I mean it could be the arrows or whatever for channel up and down, and then put the numbers around in like an old-fashioned dial shape. 'Cause then it'll appeal to older generation and like said retro's cool. So it's classically retro. Rob Ray: Hmm. James Sloan: So I mean that's just an idea if Rob Ray: Very James Sloan: you guys Rob Ray: good. I like James Sloan: like Rob Ray: it. James Sloan: it. Rob Ray: Okay, James Sloan: And, Rob Ray: ready for the next slide? James Sloan: yep. And that's it. Rob Ray: Op mm 'kay. Brent Hoffman: Okay. Rob Ray: Great. Great presentation. Ready? Kevin Ramsey: Okay hang on. Rob Ray: 'Kay. Kevin Ramsey: See if it's there. Rob Ray: Which one is it? Kevin Ramsey: I don't know. Hang on. Interface concepts, no? Rob Ray: Interface concepts new. Kevin Ramsey: Either refresh it, or it sh Oh Rob Ray: Y Kevin Ramsey: wait, maybe I didn't put it there. Hang on. Rob Ray: 'Kay. Brent Hoffman: Mine will always read copy of something or other. Rob Ray: Sorry? Brent Hoffman: I I copied mine before I sent it over. Rob Ray: Oh okay. Kevin Ramsey: Sorry, hang on. Don't know. Rob Ray: Oh there we go. Kevin Ramsey: Okay. Kevin Ramsey: Okay, um looking at the interface concept, it's gonna be mostly examples of possibilities of where we can go with this. Uh if you wanna start the next slide. Rob Ray: Sure. Kevin Ramsey: uh can't really see there's two possible, on the r left, if you see on th on the sides of of the remote, you have the sort of scroll down, so you have that option right there. And then also there's the idea of the base. That's sort of like an idea there. And then on the right, we have what's really big trend right now, it's the iPod. It's becoming really and so you have this sort of very very simplistic menu section uh with the round buttons, and it's sort of like you have the both kind of trendy and hip, but also very sleek and um and very simple, but technologically advanced. So if you wanted to do that th if we could find a way of sort of like using that idea in a remote control then sort of look into it, but Anyway, Rob Ray: Mm 'kay. Kevin Ramsey: next. Um there's the idea of like being able to do it by feel as well as by um by sight. You'd you know you're in the dark, you don't wanna be looking at the remote control. And the picture particularly is pointing out if you look at the top volume button it's a V_, and so yo you're kind of feeling a V_ like volume up. What it really is is a V_ and what it you think it is is down, because the down arrow. Rob Ray: Mm. Kevin Ramsey: And so it's like a sort of a criticism you'd probably turn that o the other way up. Um but then you have you could either do it by raised type, which could be you know, iffy, um sort of old-fashioned in a way. Rob Ray: Mm. Kevin Ramsey: Either that or just have it by shape, for example you have a specific triangular shape that you know you're looking at the up and down arrow. And then the round ones you sort of feel by, you know, that's the second one down, that sort of thing. So it's sort of looking into how we wanted t to do it by feel. Rob Ray: Okay. Kevin Ramsey: Okay. Um this is sort of an example of going for a s certain demographic. Um this is particularly geared towards children. James Sloan: That's cute. Kevin Ramsey: Um it's very cute, and we could probably change it to yellow, bright yellow for like a the for the company logo. Um and you have the shapes and it's very simplistic and friendly looking. Um and then the other thing that it would be able to do is just to pro be ab you program certain channels that only these children would watch, so it's like they ch watch, you know, the C_ Beebies or something like that, uh keep them away from other channels. So that's like another ar Rob Ray: Okay. Kevin Ramsey: Um, I mean, these are three examples sort of looking at it. You have the wider section for the main controls there. Uh you could see how many buttons there are. And then on the left you have an example of the round buttons, and a simpler design. On the bottom we probably wouldn't need that, because it's more for like a D_V_D_ function which we are not gonna be using. Um. So again it's sort of like just give you ideas and then down at the bottom you have the logos and that's where you could put the R_R_, Real Reaction. Rob Ray: 'Kay. Kevin Ramsey: And then finally these are like the sort of same examples, but also some more, just possibilities that we could go with. None of them I'm particularly keen on by the way. James Sloan: Yeah. Brent Hoffman: Hmm. Rob Ray: No. Kevin Ramsey: But it's sort of like just taking aspects out of that and saying, well out of this one we like, you know the round section of um, b or we'd like the Rob Ray: Mm. Kevin Ramsey: the button size on this. Rob Ray: Or I like, you know, the black finish or the silver finish or whatever. Kevin Ramsey: Right. James Sloan: I have four of those remotes. Rob Ray: Good lord. Okay. Ready? Kevin Ramsey: That's it. Rob Ray: Oh, yeah. Okay. Great job. Brent Hoffman: Okay, my turn. Rob Ray: Okay. James Sloan: Okay. Brent Hoffman: Whoo. Rob Ray: What's the title? Brent Hoffman: It'll be copy of component design. Rob Ray: Got it. Brent Hoffman: Yeah. Th that looks like it. 'Kay. So basic remote runs as follows, press button makes connection with the power source and the rest of the circuit, chip senses the connection, chip produces a morse code infra-red signal, specific to that button. So you press the button, it produces uh a signal that's encoded specifically for that button. Transistors amplify that signal and it goes to the T_V_'s centre, which interprets the signal response accordingly, changes channel etcetera. So that being said Next slide, please. Findings oh which were the required materials for the basic internal construction, so all the really simplistic functions that we just discussed, we need rubber for buttons, aluminium for battery y contacts, integrated circuit which consists of a diode, transistor, resonator, resistors, and a capacitator, all those basic things that make a circuit function. Um fibreglass and thin copper wire to create the actual circuit board itself. An L_E_D_, which is a light emitting diode, um contact discs for the buttons, plastic for the casing, and a power-source, whatever power-source we've actually determined we want. Next slide, please. Thank you. Uh personal preferences, uh to save money for the components, the remote should be mass-produced and basic materials should be bought en masse. Um if we find another company who can produce the required chips, casing, L_E_D_, any additional materials we decide we require at a less expensive rate than we ourselves are producing, we should go for it. Next slide, please. Um just talking to the um manufacturing division. They suggested power options, solar cells, hand dynamo, and kinetic power, so you shake it and it increases the power. Um I'm not sure how the hand dynamo works, they have yet to get back to James Sloan on that. So Rob Ray: Hmm. Brent Hoffman: next slide, please. Rob Ray: Interesting. Brent Hoffman: Suggested casing options. Okay. We can offer options for casing such as straight, curved, double-curved, you know, very specific to the customer. Options for materials, plastic, rubber, titanium, wood. I don't think anyone's gonna go for a wood one, because splinters James Sloan: That would be amazing, though, yeah. No, Brent Hoffman: Yeah. James Sloan: splinters would Brent Hoffman: Um certain restrictions do apply here though. Uh latex, you can't do solar power with a latex one. So, if they want some a soft squishy rubber, they can't have the solar powered option. Double-curved, you can't James Sloan: What Brent Hoffman: do titanium. James Sloan: is that? Brent Hoffman: Um that would be two curvatures, so it would actually, if you the shape of your hand, you curve here and you curve here, Rob Ray: Mm. Brent Hoffman: so you could have two curves that match the shape of your hand to make it more comfortable to hold. James Sloan: Mm. Brent Hoffman: Now if you wanted that, you can't do titanium. And uh so you functions what for the buttons, scrolling Kevin Ramsey: Right. Brent Hoffman: function could be very beneficial to us instead of actual buttons themselves. I think Rob Ray: 'Kay. Brent Hoffman: I have one more slide. No, I Rob Ray: No, Brent Hoffman: didn't. Rob Ray: okay. Brent Hoffman: Um the manufacturing division also has said that um they have several types of chips and they've just developed a sample sensor or sample speaker chip, which we could utilise. Um push button requires a simple chip and scroll requires more complicated chip. So depends on what we decide we wanna do. In addition to that if we're offering all those different options to the customer for producing their remote, we're going to have to have multiples of each type, like a double-curved in rubber, um you know, each option should have a certain select number produced with all those options. So we'll have to mix it up, make sure we produce enough of everyone. But that could also drive up the price of the Rob Ray: Mm. Brent Hoffman: actual remote itself if they know that we only produced five thousand, you know, double-curved James Sloan: Right. Brent Hoffman: wooden remotes. James Sloan: Okay. Rob Ray: Hmm. Brent Hoffman: And Rob Ray: Okay. Brent Hoffman: that's all I got. Rob Ray: Alright, well thank you for those informative presentations. Let's go back to um Now we have to make some decisions. Where were we? Kevin Ramsey: Let James Sloan just add one more thing that I couldn't say before, Rob Ray: Sure. Kevin Ramsey: and that's just that there's the new technology that they've developed on the voice recognition. Um. James Sloan: Oh this the thing we were talking about earlier. Kevin Ramsey: Right except that it's sort of odd, and I'm no not exactly sure why they are explaining it in the way they are, um there's a sample sensor and there's a sample speaker unit for So, you would say like, good morning, coffeemaker, and it would respond, good morning, Jill, but I'm not sure exactly how it's gonna work, 'cause do you programme do we program the responses and the questions. So does that mean that the user then has to ask the specific question, and can't change it Rob Ray: Mm. Kevin Ramsey: in order for it to be recognised, or can it be altered in a certain way, or does the actually user program it, to Rob Ray: Right. Kevin Ramsey: say a channel means this. James Sloan: Yeah, like Rob Ray: Right. James Sloan: using the menu to be like, enter your name into the screen like on the menu options. So Kevin Ramsey: Right, James Sloan: that way the Kevin Ramsey: so it's got James Sloan: remote Kevin Ramsey: like a limited James Sloan: reads it. Kevin Ramsey: memory and programme it. So it's sort of iffy, Rob Ray: Mm. James Sloan: I feel like voice recognition would be, I don't know, Rob Ray: Hmm. James Sloan: w it would be too hard to really Rob Ray: Programme. James Sloan: I mean we could do it, but Rob Ray: If it's within our price to get that kind of chip that James Sloan: Technology. Rob Ray: would, you know, technology Brent Hoffman: Well, we are making the chip. Rob Ray: Hmm. Brent Hoffman: So, I mean But, I guess, we have to look at w what our production cost is for the chip itself James Sloan: And Brent Hoffman: anyway. James Sloan: it is a growing trend, Brent Hoffman: Yeah. James Sloan: the Rob Ray: Mm. James Sloan: higher technological, like the, I mean just like the more advanced it is, Brent Hoffman: Yeah. James Sloan: the better it'll Brent Hoffman: I James Sloan: sell. Brent Hoffman: I thought offering some of those options for different materials that it could be made of different, you know I think we'd have to decide on the power options, maybe. Rob Ray: Hmm. Brent Hoffman: So James Sloan: Yeah, Brent Hoffman: that James Sloan: 'cause Brent Hoffman: we James Sloan: we Brent Hoffman: could James Sloan: need to Brent Hoffman: reduce James Sloan: know how big Brent Hoffman: cost. James Sloan: it's gonna be Brent Hoffman: Yeah. James Sloan: and how heavy. Rob Ray: Okay, that kind of brings us to this, let's let's see Brent Hoffman: Okay. Rob Ray: if we can decide what kind of energy source we want to have first and foremost. Um. Do we wanna go for batteries or a stand like the one that we saw illustrated earlier? James Sloan: Oh the base, yeah. Rob Ray: The base, the charging base Brent Hoffman: I Kevin Ramsey: I Brent Hoffman: think Kevin Ramsey: always Brent Hoffman: the Rob Ray: with Kevin Ramsey: feel Brent Hoffman: p Rob Ray: rechargeable Kevin Ramsey: like first Rob Ray: batteries? Kevin Ramsey: I wanna know what it looks like, before 'Cause Rob Ray: Hmm. Kevin Ramsey: if it's something really really small, then it's sort of harder to imagine a base for it, that was p quite a s substantial size sort of standing up Rob Ray: Yeah, James Sloan: W Rob Ray: and we don't have multiple things that it has to control, it just has to control the T_V_. It's not gonna be a huge universal remote. James Sloan: We Kevin Ramsey: Right. James Sloan: need to decide, well so we can figure how big it's gonna be, like Rob Ray: What James Sloan: exactly Rob Ray: size battery James Sloan: what Rob Ray: and James Sloan: buttons we want and exactly Kevin Ramsey: Well, the other thing is like even if it's got a few buttons, so we want James Sloan: It could Kevin Ramsey: it to James Sloan: be Kevin Ramsey: be James Sloan: like Kevin Ramsey: bigger James Sloan: this. Kevin Ramsey: than this, James Sloan: Yes. I'd, well Kevin Ramsey: 'cause James Sloan: uh Kevin Ramsey: it still fits in your hand, so you still wanted something that's comfortable and substantial, but not necessarily full of buttons. James Sloan: This one is really comfortable, like I like the sides whatever, Kevin Ramsey: Are you gonna James Sloan: because Kevin Ramsey: lose it easier? James Sloan: But if we have the um, the locator, then we don't have to worry about that. Brent Hoffman: That's true. James Sloan: So we can make it small if we have a l locating device. Brent Hoffman: If Kevin Ramsey: Yeah. Brent Hoffman: we do a voice-activated locator, though, we're gonna be looking at a more substantial chip. So James Sloan: Hmm. Kevin Ramsey: So i That's the other thing, it's like You know Are we gonna have certain chips that are gonna require bigger size period? James Sloan: Two double A_s, for this size. Kevin Ramsey: But like, you know, if we get more complicated then it's gonna v be James Sloan: Right. Kevin Ramsey: have to be bigger to just accommodate the chip size. Brent Hoffman: Honestly, I think the customer would be kind of irritated by the fact that it has a base if we did do a nice small, compact Rob Ray: Right. I agree, James Sloan: Yeah. Rob Ray: it's Kevin Ramsey: So Rob Ray: either gonna Kevin Ramsey: we Rob Ray: be Kevin Ramsey: sh Rob Ray: bigger with a base or smaller James Sloan: Smaller, Rob Ray: with James Sloan: without Rob Ray: just James Sloan: Yeah. Rob Ray: A battery like Kevin Ramsey: Yeah. Brent Hoffman: Mm Rob Ray: this Brent Hoffman: yeah. Rob Ray: guy. Alright, so what direction do you want to go in? You wanna vote? James Sloan: I think if we had a a locating device with the small one, I think that seems way more advanced. Rob Ray: I'm kind of Brent Hoffman: Yeah. Rob Ray: I'm kind of Kevin Ramsey: I'm Rob Ray: leaning in the Kevin Ramsey: a Rob Ray: direction Kevin Ramsey: away Rob Ray: of this Kevin Ramsey: from Rob Ray: kind of Kevin Ramsey: the base. Rob Ray: bigger and Kevin Ramsey: Yeah. Rob Ray: the James Sloan: Yeah. Rob Ray: base. Brent Hoffman: 'Kay Rob Ray: That just Brent Hoffman: so Rob Ray: seems so clunky and James Sloan: Yeah, because I mean if even looking at cellphones right now, those trends the smaller Kevin Ramsey: Smaller James Sloan: the Kevin Ramsey: and smaller, yeah, James Sloan: hotter Kevin Ramsey: yeah, yeah. James Sloan: it is, yeah Rob Ray: Okay. Brent Hoffman: The only problem with that is if you forget to take it out of your pocket and it goes in wash. James Sloan: Oh. Kevin Ramsey: You're kidding. Brent Hoffman: You know it happens. Rob Ray: Hmm. James Sloan: Yeah. Brent Hoffman: I've had three watches go that way too. Kevin Ramsey: Oh watches James Sloan: Ouch. Kevin Ramsey: I've but I've never washed a cell James Sloan: A phone, Kevin Ramsey: phone. James Sloan: whoa, that would wow, that would hurt. Rob Ray: Okay, Brent Hoffman: Pieces Rob Ray: so Brent Hoffman: everywhere. Rob Ray: what kind of material do we want to be made out of? Brent Hoffman: Well, we have lots of options. I don't think wood is a viable James Sloan: Yeah Brent Hoffman: option. James Sloan: wood. Rob Ray: No. Kevin Ramsey: Well, titanium Rob Ray: Oh what did you Oh sorry, Kevin Ramsey: s Rob Ray: go ahead. Kevin Ramsey: I was saying that titanium, if we're being restricted then I would probably lean away from that. James Sloan: Yeah, 'cause if it's gonna cost us more to produce a chip, titanium will be more expensive. Rob Ray: Right. Brent Hoffman: However, Rob Ray: What would you recommend? Brent Hoffman: well, James Sloan: Yeah. Brent Hoffman: we only wanna sell it for twenty five Euro right? Kevin Ramsey: Yeah. Brent Hoffman: 'Cause I was thinking if we wanted to get the high in market Kevin Ramsey: That'll Brent Hoffman: then Kevin Ramsey: Yeah, Brent Hoffman: you could Kevin Ramsey: exactly. Brent Hoffman: produce a few in titanium, Rob Ray: Mm. Brent Hoffman: make them a rarity Kevin Ramsey: The selling Brent Hoffman: so to Kevin Ramsey: point, James Sloan: We Brent Hoffman: speak. James Sloan: could Kevin Ramsey: yeah. James Sloan: do that, because all our research shows that people are definitely willing to spend more Kevin Ramsey: Are we Brent Hoffman: Yeah. Kevin Ramsey: restricted James Sloan: if Kevin Ramsey: by this? Brent Hoffman: Well the Rob Ray: I Brent Hoffman: original Kevin Ramsey: Twenty five Rob Ray: I think Kevin Ramsey: Euros Rob Ray: we should just focus on one design and one concept right now.I'm Brent Hoffman: Okay. Rob Ray: not sure that we'll have the time and money to produce a whole array of remotes. If this was a successful remote, we might then produce a higher end version of it, I think. Brent Hoffman: Yeah. James Sloan: Good plan. Brent Hoffman: Good plan. Rob Ray: Okay, so we wanna go for plastic, or what would you recommend for materials? Brent Hoffman: Honestly I'd Rob Ray: Hmm. Brent Hoffman: recommend like um uh since we're going with batteries instead of solar power, I'd recommend maybe a uh soft like latex, because we could produce, you know how cellphones have those overlays that you can change the colour. We could James Sloan: Oh. Rob Ray: Mm-hmm. Brent Hoffman: do uh one that fits Rob Ray: Mm. Brent Hoffman: in with the trends of the year so, because this year is all fruit, God only James Sloan: Yeah, Brent Hoffman: knows why, James Sloan: who knows. Brent Hoffman: um we could do f a cherry cover for this year and then i if next year is stripes or solids, you know Rob Ray: Okay. Kevin Ramsey: So you're talking about like when it leaves our salesroom then it's all gonna be cherry-coloured or is it gonna be the kinda thing where people come James Sloan: O Kevin Ramsey: back James Sloan: or we Kevin Ramsey: and James Sloan: could Kevin Ramsey: swap James Sloan: like take Rob Ray: They could Kevin Ramsey: it? James Sloan: off Brent Hoffman: They could Rob Ray: buy Brent Hoffman: come James Sloan: this. Brent Hoffman: back. Rob Ray: cases, maybe, Brent Hoffman: And buy the extra case. Kevin Ramsey: Okay. Rob Ray: if they wanted. I think it's good to sell a basic thing and then sell Brent Hoffman: So we could do like Rob Ray: options. Brent Hoffman: a b a hard base plastic, and James Sloan: Yeah. Brent Hoffman: then we could give Kevin Ramsey: The Brent Hoffman: two Kevin Ramsey: what the Brent Hoffman: latex Kevin Ramsey: top face, Brent Hoffman: covers James Sloan: Yeah. Kevin Ramsey: right? Rob Ray: Okay. Brent Hoffman: to start. Rob Ray: Okay. James Sloan: Yeah, because the soft latex definitely is squishy. That's in. Well I mean squishier than like, Rob Ray: Right. James Sloan: yeah, Rob Ray: Right. James Sloan: just a hard plastic. Rob Ray: Okay, and what kind of chip would we need for this guy? Brent Hoffman: How complicated Are we gonna go with the Kevin Ramsey: Yeah. Brent Hoffman: voice activated Rob Ray: I don't think we should do voice, I think we should just do um the recognition for when it's lost, you know. Kevin Ramsey: A Rob Ray: could we Kevin Ramsey: tracker, yeah. Rob Ray: Yeah. James Sloan: 'Cause that uh what it type of, yeah, like a certain term what we would say like, Rob Ray: Hmm. James Sloan: because people could just be talking and we don't want it going off all the time. Rob Ray: Right. James Sloan: So uh Brent Hoffman: Well, we could give it a specific code, you know, remote missing. James Sloan: Ooh. Uh see I'm uh I'm strangely attracted to it, because I know that's it's definitely gonna be big, because it's, I don't know, it's Kevin Ramsey: Well, James Sloan: just so high-tech. Kevin Ramsey: my little sister got for Christmas she got one of those key finders that's like a key-ring, and you have to whistle in a certain frequency for it to work. Brent Hoffman: Yeah, see that Kevin Ramsey: And Brent Hoffman: would Kevin Ramsey: then Brent Hoffman: just Kevin Ramsey: she Brent Hoffman: irritate Kevin Ramsey: would laugh Brent Hoffman: James Sloan. Kevin Ramsey: and it would start going off in her purse, and you couldn't turn it off. Rob Ray: Oh dear. James Sloan: Oh, Kevin Ramsey: So James Sloan: then Kevin Ramsey: it became James Sloan: maybe voice Kevin Ramsey: highly irritating. Rob Ray: Okay. James Sloan: maybe voice Brent Hoffman: So James Sloan: activation Brent Hoffman: I think James Sloan: won't Brent Hoffman: having James Sloan: be good. Brent Hoffman: a key-phrase is much better. Rob Ray: Okay. Alright. But it's not gonna be voice activated in the fact that you would say, channel up, and it would work, right? James Sloan: Yeah, n n no, we Kevin Ramsey: But James Sloan: just Kevin Ramsey: then Rob Ray: Just Brent Hoffman: No. Kevin Ramsey: it James Sloan: want it to Rob Ray: a James Sloan: be a finder. Rob Ray: Okay, alright. Kevin Ramsey: Hmm. Okay. James Sloan: But do can your can the department make Brent Hoffman: That would be like a mid-class um James Sloan: Oh, Brent Hoffman: Yeah. James Sloan: brilliant then. Brent Hoffman: So we don't actually have to go for Well, if they've just developed the sample sensor, sample speaker, it's a brand new chip. Why not introduce Rob Ray: No. Brent Hoffman: it in this way? James Sloan: Yeah, Rob Ray: Mm 'kay. James Sloan: good point. Rob Ray: Uh and what size batteries, double A_, triple A_? James Sloan: I think triple A_, it'll be lighter. Rob Ray: Two? Could James Sloan: I Rob Ray: it James Sloan: mean Rob Ray: run James Sloan: more Rob Ray: off of two James Sloan: more Kevin Ramsey: Well, James Sloan: come Kevin Ramsey: that James Sloan: in Kevin Ramsey: depends James Sloan: a package. Kevin Ramsey: on what the energy is needed. James Sloan: Yeah. Brent Hoffman: I think, well, we could d r do two or we could do one small lithium, 'cause you know the lithium batteries are doing quite well in most other electronic products, right? So they're more widely available now. And they also have a longer battery life than most batteries. Rob Ray: They're more expensive though, too. Brent Hoffman: But if you only have to replace it every five years. Rob Ray: Mm. James Sloan: That's a good Rob Ray: Thoughts James Sloan: point. Kevin Ramsey: As Rob Ray: anybody? Kevin Ramsey: long as we sell it with it. Brent Hoffman: Well, how about a initial, you get one battery when you buy it, 'cause Kevin Ramsey: Right, Brent Hoffman: I'm pretty Kevin Ramsey: that's Brent Hoffman: sure Kevin Ramsey: what Brent Hoffman: we can Kevin Ramsey: I meant. Brent Hoffman: get them James Sloan: We Brent Hoffman: pretty James Sloan: could think Brent Hoffman: cheap James Sloan: about Brent Hoffman: on bulk. James Sloan: it and Rob Ray: Okay. James Sloan: come back to it next meeting. Rob Ray: Yeah. Brent Hoffman: Yeah. James Sloan: We still have one more meeting. Rob Ray: Alright. Rob Ray: Okay. So we've covered that first category, User Interface Concept, meaning design. Kevin Ramsey: What's it gonna Yeah, what's it gonna look like. Rob Ray: Okay. Kevin Ramsey: Um. Rob Ray: I ki I kind of like your idea about the retro phone dial, and that the central button could have, maybe our logo on it? It might be the four way scroll, too. James Sloan: Yeah, Rob Ray: I mean James Sloan: it could Rob Ray: if James Sloan: be whatever, Rob Ray: Yeah. James Sloan: as long as there's something big in the middle, because like the old phones, Rob Ray: Yeah. James Sloan: there's like that just like piece of metal Rob Ray: Mm-hmm. James Sloan: or like Kevin Ramsey: Well, James Sloan: a picture or something in the Kevin Ramsey: my James Sloan: middle. Kevin Ramsey: issue with that is if it got too big though, 'cause if you have the circle and the button in the middle, then is it gonna get wider Rob Ray: Mm. Kevin Ramsey: than James Sloan: Oh, that's Kevin Ramsey: your James Sloan: true. Kevin Ramsey: your hands are, because w And then would the buttons be too small if it was enough to fit on it? James Sloan: Good point. Brent Hoffman: In the sample ones that you showed us there was one that had the scroll buttons on the side, Rob Ray: Yeah. Kevin Ramsey: Yeah. Brent Hoffman: which I think if we make it curved like a hand like a hand-shape like if we put the the scroll-button on the side, Rob Ray: Oh, I see what Brent Hoffman: that Rob Ray: you mean. Brent Hoffman: could be particularly useful. Rob Ray: I think so. James Sloan: So scroll buttons on the side and Rob Ray: Yeah, James Sloan: then buttons Rob Ray: I like James Sloan: on Rob Ray: that. James Sloan: top? Rob Ray: 'Kay. James Sloan: But we definitely If we have scroll things on the side, we definitely have to have 'em labelled. Rob Ray: Mm. James Sloan: Yeah, like Brent Hoffman: Well, James Sloan: on Brent Hoffman: if it's James Sloan: the side Brent Hoffman: just up James Sloan: of Brent Hoffman: and James Sloan: it. Brent Hoffman: down James Sloan: Oh if it's just up and down. Kevin Ramsey: But is that for Brent Hoffman: Volume or channel. Kevin Ramsey: Which? Brent Hoffman: I don't know. James Sloan: Well, you could do Kevin Ramsey: Do we James Sloan: some Kevin Ramsey: have both James Sloan: on both Kevin Ramsey: sides? James Sloan: sides. Rob Ray: Can Brent Hoffman: Mm Rob Ray: we? Brent Hoffman: yeah. We should probably make it that you have to depress it to activate it then, James Sloan: Yeah. Rob Ray: So that you're Brent Hoffman: 'cause Rob Ray: just Brent Hoffman: oth Rob Ray: not holding Brent Hoffman: otherwise James Sloan: That's Rob Ray: it and James Sloan: squishy. Brent Hoffman: you're Rob Ray: it Brent Hoffman: not Rob Ray: changes Brent Hoffman: just Rob Ray: the chan Brent Hoffman: holding James Sloan: That's Brent Hoffman: it James Sloan: squishy. Brent Hoffman: and going like this, Kevin Ramsey: Well, Brent Hoffman: you Kevin Ramsey: the Brent Hoffman: know. Kevin Ramsey: other option is in instead of a scroll you just have James Sloan: have Kevin Ramsey: the buttons James Sloan: buttons. Kevin Ramsey: up on the side which Rob Ray: Mm. Kevin Ramsey: are on the side. Brent Hoffman: Okay. Rob Ray: Yeah. James Sloan: Yeah, that. Rob Ray: Hmm. Rob Ray: 'Kay any other ideas? Kevin Ramsey: Um what colour? Rob Ray: Oh, yeah. Latex covers. Brent Hoffman: We Rob Ray: W Brent Hoffman: have to make sure that logo always sticks out when we put the latex covers on, so we'll have to like have a little square or something, so that the Kevin Ramsey: Well Brent Hoffman: our logo's Kevin Ramsey: I sort Brent Hoffman: available. Kevin Ramsey: of like having the a yellow strip at the bottom with the R_R_ like that. James Sloan: Yeah. Kevin Ramsey: And that's at the bottom of it. Rob Ray: I think maybe we should do it on a b button itself though, because if people are able Kevin Ramsey: Which Rob Ray: to Kevin Ramsey: button? Rob Ray: change the covers, maybe the on-off button, something, some the menu button, I don't know, but you know if we're gonna put our company logo on there and somebody could just get another one. Are they all gonna have our company logo on them? Every cover? Brent Hoffman: Yeah, I don't think we should do that, because that would just be icky. Rob Ray: Yeah. Brent Hoffman: So I think maybe putting it on a button is probably a good idea. Rob Ray: If we want it to be visible and Um are all those those one that you showed where they were um s met silver-metallic looking? Kevin Ramsey: Yeah. Rob Ray: But those are plastic, right? Kevin Ramsey: Yeah. Rob Ray: They're not titanium. I kind of like that look. Uh but, or if Brent Hoffman: For Rob Ray: it was Brent Hoffman: our base Rob Ray: really Brent Hoffman: one? Rob Ray: Yeah, for the base or if we're going for the retro look, I think, like a really shiny black would be cool. James Sloan: Yeah, Rob Ray: What James Sloan: or like Rob Ray: are your James Sloan: a Rob Ray: thoughts? James Sloan: gun-metal grey, Rob Ray: Gun-metal James Sloan: 'cause then Rob Ray: gray. James Sloan: it combines the silver and the black. Rob Ray: There you go, gun-metal gray. Kevin Ramsey: I'm just really wary of the putting anything on a button. Rob Ray: Why? Brent Hoffman: It'll wear off. Kevin Ramsey: What's the James Sloan: Yeah, Kevin Ramsey: button James Sloan: buttons wear Kevin Ramsey: Well, James Sloan: off. Rob Ray: Mm. Kevin Ramsey: w w then what's the button do, and how do you know that that is what the button does? I guess. Just looking at examples, y you just don't ever see the logo on a button, it's always on the actual casing. Rob Ray: Right. James Sloan: Hmm. Brent Hoffman: There's nothing saying that we have to put the logo on the front James Sloan: But Rob Ray: On Brent Hoffman: of Kevin Ramsey: But James Sloan: we Brent Hoffman: the Rob Ray: the James Sloan: want Kevin Ramsey: you Brent Hoffman: actual Kevin Ramsey: don't Rob Ray: back? James Sloan: it to be seen. Rob Ray: It d visible Kevin Ramsey: But uh, James Sloan: We Kevin Ramsey: yeah, James Sloan: need it Kevin Ramsey: you Rob Ray: Visibility James Sloan: to Kevin Ramsey: don't James Sloan: be seen. Kevin Ramsey: see it. Rob Ray: though 'Cause if it was only on the back really the only time you're gonna see it is Kevin Ramsey: Well, Rob Ray: when you drop it or Kevin Ramsey: hang Rob Ray: when Kevin Ramsey: on. Rob Ray: you're changing the battery. Kevin Ramsey: The other option is, I don't know if you can see it but it's like if Rob Ray: I can find it again. Kevin Ramsey: Yeah, it's like the second to last slide. Rob Ray: Okay. And yours was called Interface Kevin Ramsey: Interface, Rob Ray: Concept? Kevin Ramsey: yeah. Rob Ray: This one? Kevin Ramsey: Yeah. Rob Ray: Well, Kevin Ramsey: Um. Rob Ray: for some reason I can't get it to just go to that slide directly. Kevin Ramsey: Okay, it's the very right one. You see at the bottom, it's kind of difficult to see, but you have like a d sort of s division between the bottom like, where the logo is, and if we have the replaceable section, it's like the top. It doesn't necessarily replace the entire top. Rob Ray: Mm. Kevin Ramsey: And so you have that one piece that stays and the rest just sort of clips in. Rob Ray: Okay, Kevin Ramsey: If Rob Ray: yes Kevin Ramsey: c you envisioning it? And so Rob Ray: yes. Kevin Ramsey: that stays the same when you have the logo, and then you have this s slip that kinda clips in and that's the bit that changes. Rob Ray: Okay. Brent Hoffman: The only problem is we're using a latex overlay so it actually would go over top of everything and have Kevin Ramsey: Hmm. Brent Hoffman: holes for the buttons, so I was thinking maybe instead of doing that what we could do is leave a space for where Kevin Ramsey: Yeah. Brent Hoffman: the logo should Kevin Ramsey: Yeah, yeah. Brent Hoffman: be. Rob Ray: Like a little cut-out kind Brent Hoffman: Yeah. Rob Ray: of Kevin Ramsey: Right. That's Rob Ray: Okay. Kevin Ramsey: like, you know, a a cellphone it's like the the screen James Sloan: Right. Kevin Ramsey: is always just left opened. And so, what we are gonna do it like bright yellow with the R_R_? James Sloan: Yeah. James Sloan: Some Rob Ray: Anybody James Sloan: of tho Rob Ray: see anything that they liked in James Sloan: Well, Rob Ray: these James Sloan: some Rob Ray: ones? James Sloan: of those buttons though are blue-based. Um Rob Ray: Mm. James Sloan: well, a lot of those buttons are blue-based. Well, kind Rob Ray: Mm. James Sloan: of. Um and then if v we do have them illuminate upon contact, Kevin Ramsey: Yellow. James Sloan: they could illuminate yellow. Rob Ray: Yellow, Kevin Ramsey: Yeah. Rob Ray: I like that idea. James Sloan: Like if we like the one all the way on the left, uh you ca you can see it on your computer better. Rob Ray: Mm. James Sloan: Um where the button is actually blue, but the number itself is clear or white or whatever so if you pressed it would illuminate yellow. Rob Ray: Mm. James Sloan: So we'd have blue and yellow for the touch Kevin Ramsey: Oh, James Sloan: buttons. Kevin Ramsey: that one. Rob Ray: I like James Sloan: Yeah. Rob Ray: the yellow illumination idea, very good. Okay. Any other ideas or thoughts? We Kevin Ramsey: Um. Rob Ray: all seem to be fairly in agreement about what we wanna Kevin Ramsey: Ha hang on Rob Ray: do with this project so Kevin Ramsey: Let James Sloan: Mm Kevin Ramsey: James Sloan James Sloan: yeah. Kevin Ramsey: catch up. Rob Ray: 'Kay. Kevin Ramsey: Did we finalise what buttons we're including or we just everything that we said before? Rob Ray: I think there will be time for that later. I'm guessing. 'Kay, well we're gonna wrap this up. Um next meeting is gonna start in thirty minutes, and here's what we're each of us going to do. The I_D_ is going to do the look and feel design, the U_I_D_ the user interface design. I think you're going to get a lot of, I mean, the final say on what buttons get put We'll all talk about it, but I think, that's pretty much what you're gonna do, right? Kevin Ramsey: Yeah. Rob Ray: I guess. 'Kay. And you're gonna do some product evaluation. Okay, and right now, the I_D_ and U_I_D_, you two are going to work together on a prototype using modelling clay. Brent Hoffman: Great. Kevin Ramsey: Fun. Brent Hoffman: Play Doh. Rob Ray: Yeah. Okay, and you should all be getting an email pretty soon. Alright. Well, Brent Hoffman: Wonderful Rob Ray: thank you for a very productive meeting. Brent Hoffman: Ooh.

James Sloan presented more information on user requirements which showed that users wanted the look of a high-tech device that was still simple to use. She presented the fruit and vegetable fashion trend that the group will integrate into their design. Kevin Ramsey presented several ideas for the interface design taken from existing product designs. Brent Hoffman discussed the necessary internal components and presented options for energy sources and materials. Kevin Ramsey also presented the sample speaker technology recently developed by the company. The group had a discussion to finalize the prototype features. It was decided that the device will be small with a locator function instead of having a charging stand. Voice recognition will not be included outside of the locator function. It will be covered by interchangeable latex casings. To incorporate the company logo and color, the buttons will be illuminated yellow when pressed and the logo will be displayed through the latex casings. Rob Ray instructed Kevin Ramsey and Brent Hoffman to build the prototype, with Kevin Ramsey deciding which buttons will be included. James Sloan will prepare a prototype evaluation.

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Robert Green: I wanna find our if our remote works. Charles Byers: Robert Green too. Robert Green: Oh. Charles Byers: Okay. Robert Green: Whoohoo. Charles Byers: Um here's the agenda for our last meeting. Um after the opening we're going to have a prototype presentation, then we're going to discuss the evaluation criteria and the financing of our remote. Then we're going to evaluate the product and I think the whole production process, and then we're gonna close it up, and we have forty minutes, so let's get started. Oh, no, let's have the prototype presentation. Ronald Banerjee: Mm 'kay, you ready? Daniel Mendez: Um sure. You or Robert Green? Ronald Banerjee: Y you read that stuff, since Daniel Mendez: Okay Ronald Banerjee: you wrote it. Daniel Mendez: Well. since Ronald Banerjee: I'll Daniel Mendez: our Ronald Banerjee: be the Vanna. Daniel Mendez: materials aren't exactly what we were going for, I'm just gonna translate what this all means for you. The base is gonna be gunmetal gray, which is what we had decided, and it's gonna be plastic. Um then there's the latex cover, which is what you see as red. Um because it can be replaceable, we just kinda went with the colour. Charles Byers: Right. Daniel Mendez: Um and then the top. Um and the buttons will be a l much lighter blue, almost see-through. Charles Byers: Hmm. Daniel Mendez: It's just sort of a very pale blue and a Robert Green: That's Daniel Mendez: light-up Robert Green: nice. Daniel Mendez: yellow. Charles Byers: Yeah. Daniel Mendez: The whole thing lights up if you press any button, rather than it just that one button will light up. Robert Green: Good. Daniel Mendez: Um and then at the bottom we have our logo. Um bright yellow sort of design with the R_R_ which will actually look like our logo. Charles Byers: Great. Daniel Mendez: And then on the side you have the buttons. They're one button, but they kind of push up and down. Charles Byers: Okay. Daniel Mendez: I don't think they're scrolling. Ronald Banerjee: No. They're just buttons. Daniel Mendez: Right, yeah. And then yeah, the buttons. Ronald Banerjee: On off switch will be here and as you've noticed on our prototype um they've ended up with a curvature kind of, by concave sort of thing, except for, you know, can't see underneath. Robert Green: Yeah. Ronald Banerjee: So I'm hoping that when we get to production we can actually make them like that, because they're very nice to stock you know, stick your finger in Robert Green: Yeah. Ronald Banerjee: Um. Daniel Mendez: Thumb-shaped. Ronald Banerjee: the two squared buttons are are two probably least used, menu, mute, and then these are the numbers, so our channel and our volume will be on either side. Daniel Mendez: Yeah. And then the last thing is just that it'll be black labelling on top, just which we didn't do. Charles Byers: Okay. And did you determine um the curvature of the bottom part of it for the hand, is it gonna be a single or a double? Ronald Banerjee: I'd say a single. Charles Byers: Single. Daniel Mendez: Single. Charles Byers: Single sounds good, 'cause it's not Robert Green: Yeah. Charles Byers: big enough to really constitute a double. Daniel Mendez: Right. Ronald Banerjee: Yeah, it's only actually the size of my hand. Charles Byers: Great. Great. I think you did an awesome job. Robert Green: Yeah, I think it's a beautiful Charles Byers: It is beautiful, and it's everything that we discussed. Robert Green: Yeah. Good job, you guys. Charles Byers: Good job. Daniel Mendez: Oh thank Ronald Banerjee: Whoohoo. Daniel Mendez: you. Robert Green: Those are really good. Charles Byers: Alright what's next in our agenda? Um we're gonna discuss the evaluation criteria, and that's with Courtney. Robert Green: Okay, it's a PowerPoint presentation. I don't really know exactly what we should uh talk about. It's under evaluation. Charles Byers: Right. Robert Green: Alright. Um so these are the criteria we're gonna ask, is it easy to use, is it fashionable uh I guess we should down so we can Charles Byers: Mm. Robert Green: reference them. Daniel Mendez: Feel good meaning what? Robert Green: Like does it feel good, Daniel Mendez: Physically, Robert Green: like yeah, physically. Charles Byers: Right. Daniel Mendez: okay. Charles Byers: Sqi Robert Green: That's just for current trend. Charles Byers: Right. Robert Green: It doesn't really count, you guys. Ronald Banerjee: Yeah, it was a little difficult to incorporate the cover with the cherry fruit on it. Robert Green: Yeah. But it's so we do have removable covers, right? Charles Byers: Right. Ronald Banerjee: Yes. Robert Green: Yeah, well then that's covered. And so Charles Byers: 'Kay. Robert Green: we n k everybody have that? Charles Byers: I'll wait. Robert Green: Yeah, she's got it. It's Daniel Mendez: Yeah. Robert Green: good. Yeah. Okay so, we're using the criteria uh for a seven point scale, and so we need to discuss how we feel. It falls within this range, so for easy to use, do we feel it's very easy to use? Charles Byers: Are we Daniel Mendez: True Charles Byers: going Daniel Mendez: or false, Charles Byers: to indi Daniel Mendez: easy Charles Byers: I say Daniel Mendez: to use. Charles Byers: we individually rate what Robert Green: You Charles Byers: do you Robert Green: guys Charles Byers: say? Just Daniel Mendez: Yeah. Charles Byers: orally. Why not? We have okay. Robert Green: Okay. Charles Byers: Um easy to use. I vote six. Robert Green: Oh wait, that's false. Charles Byers: Oh, two. Robert Green: Okay. Ronald Banerjee: I'd say two as well. Daniel Mendez: Yeah, two. Robert Green: Two. Charles Byers: Uh Robert Green: That's what I say. Charles Byers: hello, we're great. Robert Green: Okay, fashionable? Charles Byers: Um Ronald Banerjee: At the Charles Byers: one. Ronald Banerjee: moment, no. Robert Green: No. Charles Byers: No. Robert Green: I mean like no, I think it's very Charles Byers: Robert Green Robert Green: fashionable. Charles Byers: too, very chic. Robert Green: I thi I would give it a one. Ronald Banerjee: Okay. Charles Byers: One, I give it Ronald Banerjee: I'll Charles Byers: a one. Ronald Banerjee: give it a two, because at the moment it's not looking that way. Robert Green: Well, Charles Byers: Oh, Robert Green: that's Charles Byers: and Robert Green: that's Charles Byers: ma it's Robert Green: just Charles Byers: a Robert Green: like Charles Byers: prototype, Robert Green: that's a clay, it's Charles Byers: right. Robert Green: a prototype. What do you Daniel Mendez: Mm Robert Green: think? Daniel Mendez: I don't think it's that fashionable. I'd give it like three or four. Charles Byers: Well, Robert Green: Okay. Charles Byers: now I'm. So, the average is about a two. Robert Green: Yeah, it's a two. Daniel Mendez: But then I'm not Charles Byers: Two Daniel Mendez: fashionable, Charles Byers: or three. Daniel Mendez: so don't Charles Byers: Two Daniel Mendez: use Charles Byers: point Daniel Mendez: my opinion. Charles Byers: five. Robert Green: That's okay. Yeah. Ronald Banerjee: Neither Robert Green: Um Ronald Banerjee: are all o all the customers we have, either. Robert Green: does it feel good? Charles Byers: Imagine, since we obviously don't Robert Green: I Daniel Mendez: Does Charles Byers: have Daniel Mendez: it Robert Green: feel Daniel Mendez: feel Charles Byers: that. Robert Green: like Daniel Mendez: good? Ronald Banerjee: Uh the shape of it actually does uh. Charles Byers: And it's i it is very ergonomically designed. It's gonna be curved. Daniel Mendez: Yeah, it's gonna be thicker. Charles Byers: Yeah. Daniel Mendez: Depth. Robert Green: I think it feels good. Charles Byers: I think so too. Robert Green: I'll give it a two. Charles Byers: 'Kay. Two. Daniel Mendez: I'll give it a one. Robert Green: What do you say? Ronald Banerjee: I'd say a two. Charles Byers: Alright, Robert Green: Okay. Charles Byers: average is two. Is it technologically innovative? Oh sorry I'm taking over your job Robert Green: Oh Charles Byers: here. Robert Green: no, it's fine, you're Charles Byers: Go right Robert Green: I mean Charles Byers: ahead. Robert Green: you're Project Manager. Um yeah, I mean and it does it have voice I mean the phrase recognition on it? Charles Byers: Yes. Right? We were able to do it with that kind of Daniel Mendez: Oh right, the Charles Byers: chip. Ronald Banerjee: We could do it with the chip, yes. It wasn't we have no Robert Green: And Ronald Banerjee: reflection Robert Green: there's no way you can Ronald Banerjee: of Robert Green: represent Ronald Banerjee: it on the Robert Green: it on Ronald Banerjee: prototype, Robert Green: here. Charles Byers: Yeah, Ronald Banerjee: but that's Charles Byers: right. Ronald Banerjee: because Robert Green: Y Ronald Banerjee: it's Charles Byers: That Ronald Banerjee: only Charles Byers: was Ronald Banerjee: two dimensions, Charles Byers: 'kay. Ronald Banerjee: really. Charles Byers: And we discussed that Robert Green: Yeah, Daniel Mendez: Right. Charles Byers: being Robert Green: so. Charles Byers: included. Robert Green: Then yes, then I would well it isn't what else would it need Ronald Banerjee: It Robert Green: for it to be technologically innovative? Charles Byers: Well we don' have the you know, we can't say channel, and it changes the channel, Robert Green: And Charles Byers: channel Robert Green: it doesn't Charles Byers: eight. Robert Green: cover anything other then T_V_, so Charles Byers: Right. Robert Green: I'd probably give it a three. Ronald Banerjee: Yeah. Charles Byers: Okay. Robert Green: Even though it is for just a T_V_ remote it's uh very advanced. But it is just a T_V_ remote. Charles Byers: Yeah. I'd go for a three or four on that one, so Daniel Mendez: Yeah I go four. Charles Byers: okay, let's go for a three point five. Ronald Banerjee: Three and an half. Charles Byers: Alright, and the last criteria is it is it um Daniel Mendez: Squishy and fruity. Charles Byers: Well, Robert Green: Well Charles Byers: we've covered that with Daniel Mendez: It's Charles Byers: the Daniel Mendez: just trendy, basically. Charles Byers: trendy. Robert Green: yeah, so I'd give it a two. Ronald Banerjee: It's Charles Byers: Sure. Ronald Banerjee: capable of being Charles Byers: Capable. Ronald Banerjee: squishy Robert Green: Oh, it's very Ronald Banerjee: and Robert Green: capable Charles Byers: Very Ronald Banerjee: fruity. Charles Byers: capable. Robert Green: of being squishy and fruity. Daniel Mendez: Okay. Charles Byers: And it's very important. Robert Green: Yeah. Charles Byers: 'Kay, there we go. Robert Green: Okay, Charles Byers: So. Robert Green: next. Charles Byers: Next. Robert Green: So um our re model slightly resembling a giant delicious cookie appears to be a winner, and uh hopefully we'll sell millions. Good job, team. Ronald Banerjee: How did you get that in there? Robert Green: What? Ronald Banerjee: The slightly resembling a giant delicious cookie. Robert Green: It it does. Charles Byers: It does. Ronald Banerjee: That was good. Robert Green: Thanks. Charles Byers: Very good. Alright, let's go back to this No, that's it. Hmm. Oops. Okay, so now uh we're moving on to finance, okay. I'm gonna show you an Excel spreadsheet and we're going to fill it in together based on what components we're including in our remote and see if it's under twelve fifty Euro. If so, we can proceed, if not, we need to go back to the drawing board a little bit. 'Kay? So let Robert Green bring that up. Here we go. Alright. Um it's not hand dynamo, it's powered by battery, Ronald Banerjee: Yep. Charles Byers: so we give it a Robert Green: Two. Charles Byers: Number of components you plan to use. Do I just put quantity being one battery, or Robert Green: Yeah. Charles Byers: Yeah. Ronald Banerjee: Mm 'kay. Charles Byers: But if it's a do you wanna go for this is where we need to make a final call on if it's a lithium or do we wanna go triple A_s, 'cause triple A_s we're gonna have t do more than one battery. Oh, let's just go for a lithium. What do you say? Robert Green: Yeah, let's Ronald Banerjee: Yeah, Robert Green: let's do a lithium. Charles Byers: I think Ronald Banerjee: it's. Charles Byers: uh I think Robert Green: We're gon Charles Byers: the people Robert Green: that's gon Charles Byers: who purchase this are gonna be technologically Robert Green: Nologically advanced, Charles Byers: right. Robert Green: yeah. Charles Byers: Okay, down to the electronics um section. We're gonna need this kind, correct, Robert Green: Yeah. Charles Byers: if we do Ronald Banerjee: Yep. Charles Byers: the voice sensor, so one of those. It is a single-curved, so one of those. Robert Green: Uh. Charles Byers: Oh. What's that? Yeah, that's Robert Green: Yeah. Charles Byers: correct. 'Kay, down here, Daniel Mendez: It's Charles Byers: case Robert Green: We Daniel Mendez: plastic. Charles Byers: material. Robert Green: plastic. Charles Byers: Plastic. Robert Green: And Daniel Mendez: And Robert Green: special Daniel Mendez: special Robert Green: colour. Daniel Mendez: colour. Charles Byers: 'Kay. Down here, interface type. We're gonna have the integrated scroll scroll Daniel Mendez: No, we Charles Byers: wheel. Daniel Mendez: don't have the scroll. Charles Byers: Isn't oh those are just regular Robert Green: But Charles Byers: buttons. Robert Green: it's Ronald Banerjee: Well, Daniel Mendez: Buttons. Ronald Banerjee: that's the push-button too, right there. Robert Green: Yeah, but i Charles Byers: This? Robert Green: so Ronald Banerjee: Integrated Robert Green: i Ronald Banerjee: scroll-wheel or push-button. We're really having just push-button interface. Charles Byers: Okay, so we can just go um. Robert Green: But will we w actually we'll need two, won't we? One for the top and then one for the s one e for each side. Ronald Banerjee: But it that just covers the type of button we're having. Because we're not doing a scroll on the side, it's still push-button. Daniel Mendez: Oh like the twenty nine means like you have both scrolls and Ronald Banerjee: Push-button. Daniel Mendez: push-buttons. Robert Green: Okay. Charles Byers: Right Ronald Banerjee: But we just Charles Byers: I Daniel Mendez: But Charles Byers: think Daniel Mendez: we Ronald Banerjee: have Daniel Mendez: don't Charles Byers: she's Daniel Mendez: have Ronald Banerjee: push Daniel Mendez: any scrolls. Charles Byers: I think what Courtney's talking about is do we need to put two Robert Green: Like Charles Byers: here? Robert Green: because there's like one interface right here and then because it's not gonna be on the same plane when you press the button. There's Charles Byers: Right. Robert Green: gonna have to be Ronald Banerjee: Yeah. Robert Green: additional signals on the sides. So Ronald Banerjee: Okay. Robert Green: is that gonna be an extra one on each side? Charles Byers: I don't know, they might put us well, let's Daniel Mendez: Two interfaces, Charles Byers: just. Daniel Mendez: is that what w should we Ronald Banerjee: Let's Charles Byers: Two Daniel Mendez: s Ronald Banerjee: call Daniel Mendez: say? Charles Byers: or Ronald Banerjee: it th Charles Byers: would Robert Green: Or Charles Byers: it Robert Green: three, Charles Byers: be three? Robert Green: because of one on each side and Daniel Mendez: Okay, Robert Green: one on Daniel Mendez: fine. Robert Green: top. Daniel Mendez: Yeah. Robert Green: I mean it's fine 'cause it comes out the same as twenty nine. Well less than twenty nine even. Ronald Banerjee: Okay. Charles Byers: Okay and we're gonna button supplements the buttons are no Robert Green: They're Charles Byers: uh Robert Green: a special colour. Charles Byers: okay. Robert Green: Um they're uh they're a special form, 'cause Charles Byers: Are Robert Green: they're Charles Byers: they? Robert Green: indented. Charles Byers: Oh, right. Daniel Mendez: And Robert Green: And, Daniel Mendez: then Robert Green: they're Daniel Mendez: s Robert Green: a special material. Daniel Mendez: yeah. Charles Byers: Mm. Well, we're under cost then. Alright. Daniel Mendez: We're over? Charles Byers: No, Ronald Banerjee: Grand. Robert Green: We're Charles Byers: we're Robert Green: under. Charles Byers: under. Twelve Daniel Mendez: Okay. Charles Byers: point five is our limit. Daniel Mendez: Oh, Charles Byers: We've Daniel Mendez: I see. Charles Byers: got eleven point two. Ronald Banerjee: So Charles Byers: Alright. Ronald Banerjee: we can go to production. Charles Byers: We can go to Charles Byers: I dunno what I just did. Okay. Now we're gonna talk about the project process um and whether or not we're satisfied with the whole process and the result. Um did we have a lot of room for creativity? Did we have a lot of room for individual leadership, um teamwork, and the means, meaning the technology that we used to produce our little guy there, we found any new ideas. Now, question is, how do we do this? Ronald Banerjee: Go back. Robert Green: I think we just discuss it. Charles Byers: Discuss, Ronald Banerjee: Previous. Charles Byers: sure. Alright. Who want who would like to go first? Ronald Banerjee: We think Daniel Mendez: We didn't Ronald Banerjee: we got Daniel Mendez: have Ronald Banerjee: stifled Daniel Mendez: a whiteboard. Ronald Banerjee: for cri creativity by the company itself, in restricting us only to using a T_V_ remote, Charles Byers: Hmm. Ronald Banerjee: initially. Daniel Mendez: Yeah. Robert Green: Oh Charles Byers: Hmm. Robert Green: that's true. Daniel Mendez: And no internet. Robert Green: Yeah. No, yeah, that's a good point. 'Cause I'd forgotten that that wasn't our decision, yeah. Charles Byers: And how did you feel about the whole the whole process though? Robert Green: Oh, overall I mean I thought we did a good job like We got to choose basically we had control over minus it being just merely a T_V_ remote we got to choose what we wanted to do with it. Charles Byers: Right, and we got say over what how technologically advanced it should be and also how fashionable, which I kind of Robert Green: And we're a fashion forward Charles Byers: like Robert Green: technology Charles Byers: we Robert Green: company. Charles Byers: yep. You Ronald Banerjee: right. Charles Byers: know it. Um what about um the teamwork aspect? How did you guys enjoy making the model, the prototype? Daniel Mendez: I think we did well. Ronald Banerjee: Yeah. Charles Byers: I think ya' did. Did you work well together in there, and Daniel Mendez: Yep. Ronald Banerjee: Well, Charles Byers: 'kay. Ronald Banerjee: no, there Robert Green: Minus Ronald Banerjee: was Robert Green: that one Ronald Banerjee: there Robert Green: fight. Ronald Banerjee: was scratching and fighting, Robert Green: Yeah. Ronald Banerjee: but Charles Byers: Oh my Ronald Banerjee: no. Charles Byers: God, Daniel Mendez: Gouges. Charles Byers: and we've all been a pretty congenial team here, I think. Robert Green: Yeah. Charles Byers: We hadn't Robert Green: I Charles Byers: had any ma Robert Green: mean Charles Byers: fallings Robert Green: minus you Charles Byers: out. Robert Green: guys being wha what is it, the survey, annoying or Ronald Banerjee: Irritating. Robert Green: what is it? Charles Byers: Irritating. Robert Green: Irritating, Daniel Mendez: Irritating. Robert Green: yeah. Wow that's a it's definitely a strong one. Charles Byers: Okay. Ronald Banerjee: The means, the whiteboard didn't work. Daniel Mendez: And Robert Green: Yeah. Charles Byers: Yeah. Daniel Mendez: no internet. Charles Byers: I have to knock that one down a couple Robert Green: Yeah, Charles Byers: notches. Robert Green: and no internet. Ronald Banerjee: A and our friend here really feels Daniel Mendez: Misses. Ronald Banerjee: strongly about the internet. Daniel Mendez: I do. Robert Green: And the digital Daniel Mendez: There's so much available. Robert Green: the Daniel Mendez: Like Robert Green: digital Daniel Mendez: it's information Robert Green: pens Charles Byers: Yeah, digital pens. Robert Green: were they Ronald Banerjee: I Robert Green: were pretty Ronald Banerjee: really Robert Green: cool. Ronald Banerjee: appreciated Charles Byers: They were fine. Ronald Banerjee: those, yeah. Robert Green: Yeah they were fun, even though I'm not really sure what I could do with them, but they are awesome. Ronald Banerjee: The use of the laptops for receiving everything. It Robert Green: Yeah. Charles Byers: Right, Ronald Banerjee: was Charles Byers: laptops are Ronald Banerjee: wireless Charles Byers: extremely handy, Ronald Banerjee: too, so. Charles Byers: wireless. Robert Green: And these things Charles Byers: And Robert Green: whoa. Charles Byers: that we have a shared network where we can put all of the Daniel Mendez: Yeah. Ronald Banerjee: And let's not forget the sexy dual microphones everyone gets Robert Green: Yeah. Ronald Banerjee: to wear. Robert Green: And Big Brother. Charles Byers: Big brother. Robert Green: Yeah. Charles Byers: 'Kay, have we found any new ideas through this process? Robert Green: Um we are really gonna sell this. Ta-da. Charles Byers: For something that looks cool and also has what I want it to b do technologically. Daniel Mendez: Yeah. Charles Byers: And that's your right brain taking over, w wanting the artistic, the fashionable, the hip, Robert Green: Mm-hmm. Charles Byers: you know. If we all just went out and bought useful things, I don't think I mean that's not Daniel Mendez: Well, Charles Byers: what Daniel Mendez: that's Charles Byers: technology. Daniel Mendez: why I don't like uh Macs or Apples, just 'cause I look at it, and I know it's probably a very good computer, but I look at it, and I'm taken back to elementary school, 'cause they look the same. Charles Byers: Mm. Daniel Mendez: They Robert Green: Yeah. Daniel Mendez: look like they did when I was in elementary school, Robert Green: Yeah, Daniel Mendez: and Robert Green: 'cause Daniel Mendez: that's Robert Green: they're Daniel Mendez: so old-fashioned Robert Green: pretty and Daniel Mendez: to Robert Green: just Daniel Mendez: Robert Green. Robert Green: like Ronald Banerjee: The Toronto Charles Byers: Yeah. Ronald Banerjee: district school would only use his Macs with their kids. Daniel Mendez: Exactly, so I associate them with like really low-tech, Charles Byers: Yeah. Daniel Mendez: really cheap, Charles Byers: Just the Mac Daniel Mendez: bad Charles Byers: font bothers Robert Green: Uh yeah. Charles Byers: Robert Green Daniel Mendez: Yeah. Charles Byers: even. But I do like iPods, go figure. Robert Green: Yeah, no, iPods They want all those words for Charles Byers: Yeah. Robert Green: presentation, Ronald Banerjee: Well, Robert Green: even Ronald Banerjee: i Robert Green: the Ronald Banerjee: iPods Robert Green: plugs. Ronald Banerjee: are now quite trendy, and Charles Byers: Mm-hmm. Ronald Banerjee: they come in different colours. Charles Byers: Colours. Exactly. Ronald Banerjee: Yeah. Charles Byers: I mean how many people went out and bough a Nokia phone, back when we were like in high school, just so they could get the changeable face Robert Green: Oh Charles Byers: plates. Robert Green: yeah, everybody. Charles Byers: Okay. Anyway, Ronald Banerjee: Not Robert Green. Charles Byers: so Robert Green: Mine Charles Byers: that Robert Green: is Daniel Mendez: But the Charles Byers: is Ronald Banerjee: I Daniel Mendez: my Ronald Banerjee: didn't Charles Byers: definitely Robert Green: amber. Ronald Banerjee: have a phone Charles Byers: at work. Ronald Banerjee: 'til university. Daniel Mendez: but my Robert Green: Oh. Daniel Mendez: one issue is just like the whole it's for T_V_ only. I was like who's gonna buy a remote just for the T_V_ unless they've lost theirs. Robert Green: Look at Charles Byers: Yeah. Robert Green: it. That is a piece Charles Byers: Fashionable Daniel Mendez: You're kidding. Robert Green: of Charles Byers: chic Robert Green: work. Charles Byers: people Robert Green: Wow. Charles Byers: will. Daniel Mendez: No, Robert Green: Marketing Director says yeah. Fashionable Daniel Mendez: no. Robert Green: people Daniel Mendez: No, marketing Robert Green: will buy Daniel Mendez: has Robert Green: it. Daniel Mendez: to actually create the desire for it. Robert Green: Oh, I will create Ronald Banerjee: That's okay. Robert Green: desire. Ronald Banerjee: We can create a commercial where they think that all their needs will be met. This Daniel Mendez: Ri Ronald Banerjee: will help them find Charles Byers: Hmm. Ronald Banerjee: the one. Daniel Mendez: They'll be sexy with it. Ronald Banerjee: That's right. Robert Green: that's the fig-leaf. Daniel Mendez: Oh right. Robert Green: Mm. That'll sell. Charles Byers: There you Daniel Mendez: Let Charles Byers: go, Daniel Mendez: you Ronald Banerjee: And Charles Byers: marketing. Daniel Mendez: loose. Ronald Banerjee: so the serpent says, use our remote. Robert Green: Yeah. Charles Byers: Alright. Daniel Mendez: Yeah, Robert Green: Yeah. Daniel Mendez: no. Charles Byers: Okay, we're gonna wrap this up now. Um the costs are within the budget, we evaluated the project, and now we're gonna complete the final questionnaire and meeting summary, and then we're going to have a big giant party, apparently, according to this, so. Ronald Banerjee: Whoohoo. Charles Byers: Alright, thank you team, Ronald Banerjee: Margaritas Charles Byers: you did a great Ronald Banerjee: for everyone. Charles Byers: job, it was lovely working with you. Daniel Mendez: Good. Robert Green: You too. Ronald Banerjee: Yay. Thanks to the Project Leader. Now we know w

Daniel Mendez and Ronald Banerjee presented the prototype and displayed its gunmetal color, removable casing, buttons, logo, and ergonomic design. Robert Green gave an evaluation of the prototype using the group's initial criteria for the remote. The group decided that enough of their initial ideas and criteria for the remote were satisfied to be able to continue with the project. Charles Byers analyzed the final production cost; the cost was lower than initially projected, at 11.2 Euros. The group decided to use one lithium battery instead of several triple A alkaline batteries. Charles Byers then led a discussion on the project process. The group felt that they worked well together and were pleased with the prototype. They complained, though, that they felt constrained by the management's directives, that they had difficulties using the meeting-room equipment, and that they did not have internet access during the project. All participants were instructed to fill out a final questionnaire.

amisum

train

Charles Thurgood: Here we go. Welcome everybody. Um, I'm Abigail Claflin. You can call Cornelius Dennis Abbie. 'S see. PowerPoint, that's not it. There we go. So this is our kick off meeting. Um and I guess we should all get acquainted. Let's shall we all introduce ourselves? Cornelius Dennis: Hi I'm Chiara, I'm the um Marketing Expert Um. would you like Cornelius Dennis to talk about my aims at the moment, or would you like Cornelius Dennis to just say my name and then we can talk about business Charles Thurgood: I think Cornelius Dennis: later? Charles Thurgood: we'll get around to that, yeah. Cornelius Dennis: We'll Charles Thurgood: So Cornelius Dennis: get Charles Thurgood: this Cornelius Dennis: round Charles Thurgood: is Cornelius Dennis: to Charles Thurgood: just Cornelius Dennis: that later. Charles Thurgood: introductions Cornelius Dennis: My Charles Thurgood: yeah. Cornelius Dennis: name is Chiara and I'm Cornelius Dennis. Charles Thurgood: Okay. I forgot to s say I'm Charles Thurgood but I figured you all knew that already, um so. Brent Michaux: I'm Stephanie I am Brent Michaux. Steven Esquivel: I'm Krista and I'm Steven Esquivel. Charles Thurgood: Okay. Um so f here's our agenda for today. Um we're gonna do some tool training, project plan and discuss then close. Um so. So our aim is to produce a remote control that is original, trendy and user friendly. And to do this, we have to um there's certain things we have to consider about functional aspects and conceptual design of the thing. So. We'll get to that. Oh there it is. Right. Functional design, conceptual design and detailed design. So throughout our next couple of meetings we'll we'll be covering these things. Um so we're gonna try out our white board. If we'll all draw our favourite animal, to sum up the characteristics of that animal. Brent Michaux: So Charles Thurgood: Okay. Brent Michaux: you want us to draw it and then talk about it? Or just draw it? Cornelius Dennis: I think both. Charles Thurgood: Yeah. Brent Michaux: Okay. Why don't Charles Thurgood: Both. Brent Michaux: we do both. Charles Thurgood: Yeah. Cornelius Dennis: Who starts? Brent Michaux: Right. Cornelius Dennis: We ought to decide who starts and all that. No? Charles Thurgood: Any Cornelius Dennis: Uh-huh. Charles Thurgood: volunteers? Does anyone know what they wanna draw? Brent Michaux: Mm, I gotta think about it for a second like. Uh Does it have to be functional, trendy and user friendly? Charles Thurgood: I don't think so. Brent Michaux: Um. Okay, I'll draw. I'll draw one. Make sure my things here. Brent Michaux: Uh-oh. Brent Michaux: Right. Brent Michaux: Okay, my favourite animal is see. Brent Michaux: Oops. Charles Thurgood: A dolphin. Brent Michaux: Yeah, it's Charles Thurgood: 'S like playing Pictionary. Brent Michaux: Yeah, I guess it has a fin on top too, yeah. Brent Michaux: It's my dolphin. Charles Thurgood: So what characteristics do you like about your animal? Brent Michaux: I like its tail. Um, no, I think dolphins are really uh I dunno, they're smart and they they're cute and they like swimming and that's cool, like Charles Thurgood: They're graceful. Brent Michaux: they're graceful yeah, and they're so Charles Thurgood: Sleek. Brent Michaux: Yeah they're sleek and they look intelligent and I don't know, they're I guess it's the whole like binocular Charles Thurgood: I don't know how Brent Michaux: vision Charles Thurgood: intelligent Brent Michaux: thing. Charles Thurgood: that one looks. Brent Michaux: Yeah he he doesn't look that smart. He's a I dunno um they're I think it's cool the the um the interaction that or the th things that the reasons people seem to like you know you get ex you know people are sitting on the beach and p they're like oh look there's dolphins and it's kinda like but they're you know they jump around in the water and they're happy and they're mammals, but they Charles Thurgood: Yes. Does Brent Michaux: swim. Charles Thurgood: anybody else wanna draw their animal? Steven Esquivel: Suppose I can draw an animal, yeah. Charles Thurgood: Uh-oh there goes the ten. It's a cat. Steven Esquivel: Yeah. I don't know. They sleep all day, they're easy to draw. Charles Thurgood: Do you wanna Cornelius Dennis: Uh yeah. Charles Thurgood: anything? I dunno Cornelius Dennis: Well Charles Thurgood: if Cornelius Dennis: I Charles Thurgood: the Cornelius Dennis: had Steven Esquivel: I think the pen is Charles Thurgood: the Steven Esquivel: running out of Charles Thurgood: ah. Cornelius Dennis: spare one. So I'll use the spare one. Um but it's harder to draw Brent Michaux: And Cornelius Dennis: um. Brent Michaux: the pen's dying. Cornelius Dennis: Um. Charles Thurgood: A Cornelius Dennis: Uh. Charles Thurgood: horse. Brent Michaux: Horse. Cornelius Dennis: Um I don't really know Charles Thurgood: That's Cornelius Dennis: how Charles Thurgood: very Cornelius Dennis: the legs Charles Thurgood: good. Cornelius Dennis: go, but anyway I will do that. Um, and the main reason is they're pretty. I think they're very pretty and they go well with the environment, and I like the way they run and I used to do horse riding and they're just very sort of sturdy and nice animals. And I like the way um they feel, sort of under under the hand, I think that's pretty much it. Um Charles Thurgood: Yeah. Charles Thurgood: This cord's Charles Thurgood: Uh. Right. Actually I haven't thought of anything yet. Uh Charles Thurgood: It's a pig. So I'm thinking we should design a remote control that's water resistant, strong and furry. What do you think, yeah? Brent Michaux: And furry. Charles Thurgood: This is yeah, well like a cat, you know, Brent Michaux: Textile Charles Thurgood: soft yeah. Brent Michaux: tactile, tactile remote Charles Thurgood: Although Brent Michaux: control. Charles Thurgood: uh I'll just put there. Right. Brent Michaux: You're dragging a you have a tail. Charles Thurgood: Oh my gosh, this is disastrous. Sorry about that. Okay. So moving on. Our selling price goal is twenty five Euro and profit aim is fifty million Euro. So I'm guessing that we're not actually in Scotland, we're in some European country. Um, and we will hope to sell this internationally. Brent Michaux: Sorry can you just say that what's the what are our price goals again? Charles Thurgood: Um selling price is twenty five Euro. Brent Michaux: Okay. Charles Thurgood: Profit aim fifty million Euro. Cornelius Dennis: How many should we sell then? Um, a lot, Charles Thurgood: Anyone Cornelius Dennis: two Charles Thurgood: a mathematician? Cornelius Dennis: two two million, two mi no, more f four million. Steven Esquivel: Two million. Cornelius Dennis: Four million. And it well it's the profit so if a profit for each is twelve Steven Esquivel: Oh, Cornelius Dennis: fifty, Steven Esquivel: yeah. Cornelius Dennis: that'll do four million. Cornelius Dennis: It is a lot. Uh. Charles Thurgood: So f that's a fifty percent um uh. Um, I don't know what these mean because I didn't actually make the slide-show. Experience with remote control. So I guess we have to reflect on our experiences with remote controls to decide what um we would like to see in a convenient, practical, nice remote control. Um so do we have any initial ideas for uh how this remote control should be designed or formatted or the the buttons Cornelius Dennis: Um, Charles Thurgood: it should have. Cornelius Dennis: I think one thing is that it should be easy to find Brent Michaux: I was Cornelius Dennis: bec Brent Michaux: thinking that too. Cornelius Dennis: yeah Charles Thurgood: Yeah. Brent Michaux: I Cornelius Dennis: bec Brent Michaux: think we should design something that has like a so you can like somehow like you I mean you always know where your T_V_ is, so just have a call button, I've always wanted that, Cornelius Dennis: Yeah, Brent Michaux: so Charles Thurgood: Yeah. Cornelius Dennis: yeah Brent Michaux: like Cornelius Dennis: yeah Brent Michaux: you Cornelius Dennis: yeah Brent Michaux: can push Cornelius Dennis: yeah. Brent Michaux: a button Charles Thurgood: I mean Brent Michaux: on your Charles Thurgood: you have Brent Michaux: T_V_ Charles Thurgood: it for the portable Brent Michaux: Yeah, Charles Thurgood: phone, so Brent Michaux: yeah Charles Thurgood: why not Brent Michaux: yeah Charles Thurgood: yeah. Brent Michaux: yeah, so you should have a call button on your television to Cornelius Dennis: Yeah. Brent Michaux: be able to find your remote control. Cornelius Dennis: And even I think a little light. Um or even a maybe a vib a vibrating thing. I dunno but someth because it's usually under the sofa. Brent Michaux: Yeah. Cornelius Dennis: In which case Brent Michaux: Yeah. Cornelius Dennis: you're going to be l but if it has a sort of signal which isn't any sound I don't know Brent Michaux: Yeah. Cornelius Dennis: if it's expensive maybe to Brent Michaux: I don't yeah I mean it Cornelius Dennis: Maybe call is enough. But yeah. Brent Michaux: but like I mean just I mean like your phone even just has so Cornelius Dennis: Yeah Brent Michaux: like Cornelius Dennis: yeah Brent Michaux: it Cornelius Dennis: yeah. Brent Michaux: can vibrate, it can light up and make Cornelius Dennis: Yeah. Brent Michaux: noise and I dunno. Charles Thurgood: What if it had something like um just like a magnet on the back of it and you could I mean j just to have some place to put it besides like a base. Brent Michaux: Yeah. Charles Thurgood: You know like a portable Brent Michaux: Yeah, Charles Thurgood: phone Brent Michaux: or if it Charles Thurgood: has Brent Michaux: had a Charles Thurgood: a base, Brent Michaux: yeah. Charles Thurgood: like just to have a home for it. Cornelius Dennis: Yeah yeah yeah yeah. Brent Michaux: Yeah, I mean Charles Thurgood: 'Cause people just stick it on top of their T_V_, but the point of having a remote is not to have to walk over to the T_V_, Brent Michaux: Yeah. Charles Thurgood: so Steven Esquivel: Well that's why it's always in the couch. Charles Thurgood: Yeah. Brent Michaux: Yeah, in in the couch. I dunno, it seems like though that that would be hard, 'cause Charles Thurgood: Yeah. Brent Michaux: you not you're not gonna be lazy Charles Thurgood: Maybe Brent Michaux: anyway Charles Thurgood: we should Brent Michaux: and Charles Thurgood: design couches that have the remote control Brent Michaux: Yeah Charles Thurgood: in Brent Michaux: so we Charles Thurgood: the side Brent Michaux: the project Charles Thurgood: arm. Brent Michaux: is now couches and Cornelius Dennis: But Brent Michaux: remote Cornelius Dennis: even Brent Michaux: controls. Cornelius Dennis: just a thing to attach it to the w you know if you had a thing, a pretty object attached to the wall. But that would really Brent Michaux: Yeah. Cornelius Dennis: make it more expensive. But it's only a plastic thing, r Brent Michaux: Yeah. Cornelius Dennis: really, Charles Thurgood: Yeah. Cornelius Dennis: the thing on the wall. Something like that. And the other Charles Thurgood: Do you Cornelius Dennis: thing Charles Thurgood: think it Cornelius Dennis: is Charles Thurgood: needs to be bigger to not lose, or does that Brent Michaux: Bigger. Charles Thurgood: not factor Cornelius Dennis: Not Charles Thurgood: in? Cornelius Dennis: well it needs Charles Thurgood: Like Cornelius Dennis: to be sort of Charles Thurgood: Hand Brent Michaux: Hand-sized. Charles Thurgood: hand held Cornelius Dennis: Yeah. Charles Thurgood: size, yeah. Cornelius Dennis: I don't think you need a Charles Thurgood: Not not huge, but Cornelius Dennis: But definitely not well I don't know. Brent Michaux: It can't be that hard to put some kind of a noise on it. Cornelius Dennis: No, it can't be, Steven Esquivel: No it really Brent Michaux: Or Cornelius Dennis: uh-uh. Brent Michaux: like Steven Esquivel: wouldn't Charles Thurgood: Huh. Steven Esquivel: be. Brent Michaux: or like a light thing. You know. I dunno. Cornelius Dennis: Like spaceship. Brent Michaux: Yeah. Cornelius Dennis: Right. Um Brent Michaux: Or make it mobile so it runs around and comes come find you yeah. That would be really I'm sure we could do that for twenty five Charles Thurgood: Little Brent Michaux: Euros Charles Thurgood: homing Brent Michaux: a pop. Charles Thurgood: device. Brent Michaux: Yeah. Uh. Charles Thurgood: Um. Okay. So what do we think this remote control should Five minutes. Cornelius Dennis: Oh dear. Charles Thurgood: Till the meeting oh right. This is what we have left. Brent Michaux: I also Charles Thurgood: Um, Brent Michaux: think though that Charles Thurgood: oh Brent Michaux: it shouldn't Charles Thurgood: we just Brent Michaux: have too many buttons, 'cause I hate Steven Esquivel: Yeah, Brent Michaux: that Steven Esquivel: I Brent Michaux: when Steven Esquivel: agree. Brent Michaux: they have too many buttons and Cornelius Dennis: Yeah, Charles Thurgood: Yeah. Steven Esquivel: button Cornelius Dennis: yeah yeah. Steven Esquivel: and the Brent Michaux: I Steven Esquivel: F_ Brent Michaux: mean I know Steven Esquivel: button, Brent Michaux: it has Steven Esquivel: they Brent Michaux: to Steven Esquivel: don't Brent Michaux: have Steven Esquivel: do Brent Michaux: enough Steven Esquivel: anything. Brent Michaux: functions but like, I don't know you, just have like eight thousand buttons and you're like, no, you never use half of them. Charles Thurgood: You Brent Michaux: So. Charles Thurgood: what if um may be a little fancy but what if it had like a little screen, so it has less buttons but it still has all the functions. Brent Michaux: That would be cool. Charles Thurgood: Like the Cornelius Dennis: Yeah. Charles Thurgood: way a mobile phone does. Brent Michaux: Yeah. I mean it just seems like Charles Thurgood: So you could like Brent Michaux: yeah. Charles Thurgood: um like if you have I dunno if you have satellite if you have a hundred channels, you can the way you do it on your radio is that you uh what do you call Cornelius Dennis: Select. Charles Thurgood: it s y yeah but you Cornelius Dennis: Uh. Charles Thurgood: can programme, so you can programme like your favourite channels, so like if you had a s Cornelius Dennis: But, would you have the screen on the thing, or would you have it on the telly transmitting the screen. Charles Thurgood: That's something we could decide. Brent Michaux: I Cornelius Dennis: Because Brent Michaux: guess Charles Thurgood: Mm. Brent Michaux: they would go together somehow? I dunno. Cornelius Dennis: Because, I don't know if it's I think it's e expensive, if you have if you use the telly screen, 'cause the telly's Charles Thurgood: Yeah. Cornelius Dennis: already a screen, then you can pro sort of have a programming function, really easy sort of arrow up and down, on Charles Thurgood: Yeah. Cornelius Dennis: the remote, and then use the telly as a screen. Charles Thurgood: Right. Cornelius Dennis: But um Brent Michaux: I'm thinking Cornelius Dennis: But Brent Michaux: kind Cornelius Dennis: yeah for Brent Michaux: of Cornelius Dennis: sure. Something like not it's not on the button but it's telling you what to do, Charles Thurgood: Yeah. Cornelius Dennis: is that what you mean? Charles Thurgood: Yeah. Cornelius Dennis: Right. Mm. Brent Michaux: Or like you h you see those you know people I'm thinking of like celebrity cribs kind of things when like they have all those these things that at their house you know their their entire house is so electronic, and they have like this one master control that and it's like a hand held like turns on everything sort of control and it has like a screen and like so I think it should be possible to have some kind of a screen, I don't know Cornelius Dennis: Yeah. Brent Michaux: if it must be it would probably must be ex too expensive though t like I dunno. Cornelius Dennis: But like Charles Thurgood: Mm. Cornelius Dennis: mobile phones have screens Brent Michaux: Yeah, Cornelius Dennis: and they're cheap. Brent Michaux: yeah. Yeah Charles Thurgood: Yeah. Brent Michaux: that's true. Charles Thurgood: I mean, we have to remember our budget is twelve point Cornelius Dennis: Yeah. Charles Thurgood: twelve fifty for to actually make the device. Brent Michaux: Mm. Charles Thurgood: Um Brent Michaux: Well, I guess Charles Thurgood: but it's Brent Michaux: we have Charles Thurgood: something Brent Michaux: to get to Charles Thurgood: to Brent Michaux: that Charles Thurgood: think Brent Michaux: later, Charles Thurgood: about, yeah. Brent Michaux: yeah. Charles Thurgood: I mean we'll have to see how much that would be. Cornelius Dennis: Or some it i we can find out probably on the Charles Thurgood: Yeah. Cornelius Dennis: internet how much it's Um. Yeah, and the other thing you said that thing about robust and water um What was the word? Brent Michaux: Furry. Cornelius Dennis: Water resistant. No but it's I thought, ah, Charles Thurgood: was Cornelius Dennis: spot on. Charles Thurgood: just Cornelius Dennis: Good feel, tact tactile, Charles Thurgood: Yeah. Cornelius Dennis: good tactile feel, maybe something didn doesn't make your hands sweat lot. Brent Michaux: Yeah. Mm, mm. Cornelius Dennis: That's quite annoying. Charles Thurgood: Maybe um just like a simple thing to have a clip on it, like so you can clip it to your Brent Michaux: Yeah. Charles Thurgood: like that's another Cornelius Dennis: Yeah, clip. Ooh. Um. Charles Thurgood: Um. We should probably start wrapping up, um we've got some initial ideas that we can all look into. Um, and come up with some new ones for the next meeting, which will be in another thirty minutes. Um. So. Yeah. Steven Esquivel, what does that stand Steven Esquivel: Yeah Charles Thurgood: for, Steven Esquivel: I think Charles Thurgood: I_D_, Steven Esquivel: so. Charles Thurgood: yeah um is going to be looking more into the working design. So I guess you'd be looking at lots of the things we discussed about screen and um that sort of thing. The something, what is the U_I_? Steven Esquivel: User. Brent Michaux: That's Cornelius Dennis. Charles Thurgood: Yeah, what does it stand for again? Brent Michaux: Uh, User Interface Charles Thurgood: User Brent Michaux: design. Charles Thurgood: Interface Designer. So that's gonna be more technical. I guess that maybe the working design has also to do with like the physical feat like just Brent Michaux: So Charles Thurgood: the way Brent Michaux: technical Charles Thurgood: it looks Steven Esquivel: The Brent Michaux: function. Steven Esquivel: working Charles Thurgood: and Steven Esquivel: design Charles Thurgood: the way Steven Esquivel: is Charles Thurgood: it w Steven Esquivel: the structure. Charles Thurgood: Yeah, yeah. Brent Michaux: What is technical functions exactl I I don't really know what Charles Thurgood: Um, I guess you'd have to find out. Cornelius Dennis: It says Steven Esquivel: Um. Cornelius Dennis: on that email Steven Esquivel: It Cornelius Dennis: but Steven Esquivel: was Brent Michaux: It Steven Esquivel: in Brent Michaux: does Cornelius Dennis: it Steven Esquivel: the email. Brent Michaux: but it I just don't really Steven Esquivel: I wrote down what Cornelius Dennis: It Steven Esquivel: mine Cornelius Dennis: said Steven Esquivel: were. Brent Michaux: Yeah. Cornelius Dennis: um It said Brent Michaux: What effect should the thing ha should it have, okay. Alright. Cornelius Dennis: Yeah like Brent Michaux: And working design. Okay. Cornelius Dennis: Be a medium between you and the telly Brent Michaux: Yeah, Cornelius Dennis: I think, Brent Michaux: yeah. Charles Thurgood: Mm. Cornelius Dennis: that's uh Brent Michaux: Alright. And how it works, okay. Right. I'm I'm on task. Charles Thurgood: And the M_E_, what does that stand for? M Steven Esquivel: Marketing. Charles Thurgood: Marketing, Cornelius Dennis: Marketing. Charles Thurgood: right. Cornelius Dennis: Oh it's written Charles Thurgood: Um. Cornelius Dennis: here, but um. Charles Thurgood: So we'll be working on the user requirements, um Yeah. Cornelius Dennis: Okay. Charles Thurgood: So I guess that wraps it up. I'll see you all in thirty minutes. I just did.

The group introduced themselves to each other. Charles Thurgood discussed the goals for the project and gave an agenda for the project as a whole. The group practiced using the meeting-room equipment by drawing on the whiteboard. Charles Thurgood presented the projected profit and price point. The group discussed their experiences with remote controls. They complained that remotes got lost too easily, and suggested using a locator function. They also complained that remotes had too many buttons, and suggested incorporating a screen to simplify the interface but retain all of the functions. They also suggested making the remote water-resistant and including a clip. Charles Thurgood instructed Steven Esquivel to research the working design and components, Brent Michaux to research the technical functions, and Cornelius Dennis to research user requirements.

amisum

train

Charles Carroll: Okay. David Chavez: 'Kay so we'll try to zip through this, since we're short on time. Welcome everybody. Um hope your sessions went well. Um so this is our functional design meeting, we're going to consider um user needs, technical effects, and the working design of our remote control. Um I've been taking meetings on the minute minutes on the meetings, and I'll be putting them in the shared documents folder so if there's anything you need to refer to you can find them in there. Um I'll get the ones up for next time, um they're not finished yet. Right. Um so can we have updates from everyone from what you've worked on just kind of a quick summary of anything interesting that you'd like to share Charles Carroll: And I can David Chavez: or discuss Charles Carroll: start if David Chavez: in Charles Carroll: you David Chavez: this Charles Carroll: want. David Chavez: sure. Charles Carroll: Is there an order? No. We haven't David Chavez: Hm? Charles Carroll: decided on an order. David Chavez: No, Charles Carroll: First. David Chavez: any any order's fine. Charles Carroll: Okay. David Chavez: Yeah. Charles Carroll: Um, how do I put this Christopher Patel: Just Charles Carroll: I'll just Christopher Patel: uh Charles Carroll: put the cable in. David Chavez: Oh yeah, sorry. Charles Carroll: Is that it? Can you see? Oh, here. Okay. So what happens it doesn't work? David Chavez: It sh it takes a few seconds I think. Christopher Patel: You may need to Robert Hefley: Who's that? Charles Carroll: No. Is it in the Christopher Patel: But Charles Carroll: right Christopher Patel: sometimes Charles Carroll: thing? Christopher Patel: you have to do it it's like a three set setting cycle, so press it a couple times, hold down function and then press Charles Carroll: Oh wait, Christopher Patel: F_ eight. Charles Carroll: um. Uh. You need to help Charles Carroll. David Chavez: Uh-huh, and then press function. Charles Carroll: Yeah. David Chavez: and F_ eight. Robert Hefley: Could you just plug it back into hers because Charles Carroll: Oh, Robert Hefley: she had Charles Carroll: wait. Robert Hefley: oh. Charles Carroll: is that it? Christopher Patel: Adjusting. David Chavez: Here we are. Christopher Patel: The cable might be a little loose or something. Charles Carroll: Right Christopher Patel: Oh, Charles Carroll: here we Christopher Patel: you got Charles Carroll: are. Christopher Patel: it. David Chavez: Oh. Is it on? Charles Carroll: We're here. David Chavez: Okay. Charles Carroll: Okay, um. In order to see what the functional requirements were to be found, um a hundred people were tested in a usability laboratory through just their habits to n know their habits were observed and questionnaires were given out. Um, the findings in in some cases matched what we were talking about. Custome Customers and users don't like the way remote controls look, they don't like the way they feel, they don't think they match their operating behaviour, and an example is what we were talking about, the buttons, they only use ten per cent of the buttons, so later on there's a study of the buttons that they use most and I think we should design according to these buttons. Easy to lose, and R_S_I_. I don't know what R_S_I_ means. Um the person that did the questionnaire obviously did, I don't have a David Chavez: Hm. Charles Carroll: clue. Um, according to the frequency of use and the relevance of each buttons, I have made a list of the buttons that we should focus on in order of importance. So the most important buttons are those to do with channel selection. They're used about a hundred and sixty times per hour. And um yeah so and and people like to zap a lot apparently, so this is the order. Channel selection, teletext, volume, and power. The other ones are the settings, and they're used less than you know zero point eight to zero point five times per hour, and this means that I think we can we could have like a a button for all the settings, and then, just one, and then from there go on to the audio on the screen, either on the remote or on the television. Um, about the screen, and speech recognition, some people are more willing than others to actually pay for that. And if we look at the market, f people from well from fifteen to thirty five year old year olds, I don't really know how to describe this, um ninety one to seventy six percent of people in that age range are willing to pay more for this sort of product, while people that are above thirty five years ol um years old go from thirty five percent to eight percent, so people that are sixty five for example wouldn't actually pay for this sort of thing. Um I don't I don't know um what the decision to be made is, but I think that the people that actually do buy remotes m more are those like teenagers and young professionals and um, most likely, but we should discuss this together. And that's all I have to say about the matter, David Chavez: 'Kay. Charles Carroll: um. Shall I what do I do? Do I give this to someone else? David Chavez: Yeah. Just move right on. Robert Hefley: Right. So get this. Robert Hefley: Okay so now I need to press F_ eight, what is it? David Chavez: Uh function Charles Carroll: Function David Chavez: F_ Charles Carroll: F_ David Chavez: eight. Charles Carroll: eight. Robert Hefley: 'Kay. What's function? David Chavez: It's the little blue w it's Robert Hefley: Oh David Chavez: the Robert Hefley: function, David Chavez: one Robert Hefley: I David Chavez: th Robert Hefley: see David Chavez: yeah. Robert Hefley: it. There we go. David Chavez: Yeah should be It should be yeah. Robert Hefley: Okay. Um. This my presentation about the uh technical functions design and I basically just tried to focus on um just what what functions we need and how to make that the best function for the user. So uh and I just sort of like thought about it myself and looked on the internet. And okay so basically um I think i uh like it is really important that we sort of get this done in a user friendly and fashionable way. Um so I think things like uh you know keeping buttons together that like close together that um are used in the same way, uh or um maybe that making 'em the same colour, keeping the number of buttons the uh leas you know to a minimum, and also things like is it is it um is it uh can you c y small enough large enough I'm not sure we c I guess we would need to do some research about, I would, about what size is appropriate and that sort of thing, um but basically we need to make sure that it turns on and off the T_V_. Does it have like capacity to change the channels? Um does it do or do we need to have like functions for cable or V_C_R_? And then, is it findable, and uh how do we wanna do that? And um I just thought that these two remotes were pretty boring, um I dunno if this will work but And I think we can find something that's more fun to look at and use than either of those. Just I mean I like the one on the right better, just because it does have fewer buttons, uh but I mean I think we sh can sort of think about things like um like colour and you know size, shapes, that sort of thing, to best fit the user. That concludes my presentation. Okay. You need the little thingy. Robert Hefley: Ooh. Christopher Patel: How do I um Charles Carroll: S Charles Carroll: That's on view. Oh. Christopher Patel: Right. Okay so this is on the working design, which is sort of the uh mechanical functions of the remote, um and the method I used was to basically look at and incorporate ideas from our last meeting. Um so I think we need two basic functions which is just the basic remote functions, the user can input a channel or volume setting and it will be output to the T_V_. And also we talked about um a location function where maybe you could press a button on the T_V_ and it would send sort of signal to the remote where it would beep or flash or vibrate or whatever to tell you where the remote is. So the components we need are an energy source to power the remote, um input which would probably be buttons, although um we just talked about voice recognition, processor to take the information, um something to transmit it to the T_V_, and we also need something on the remote that would receive the location signal and have an output, like possibly a beep or a vibration. And also you need a sender for location signal, which would probably be a separate um thing that we'd have to sell with the remote and people could stick it on their T_V_ or stick it on their wall. And this is just sort of an overview of how the remote works. Power comes from the battery, goes to the chip, um and then it is sent from there to an infrared bulb which is probably the easiest way to send to the T_V_. And then for the location function, you would have a sender on the T_V_ which would output some sort of signal, um we could use I_R_ but we'd probably wanna use radio instead. That signal would go to a receiver which it would process it, and it would be output in the form of a buzzer or a light lighting up. Um so my personal preferences for how to build the remote would probably be uh, battery for the energy source, that way you wouldn't have to plug it in, um a button pad for input, um we can purchase a pre-made chip which will handle all the processing stuff, I_R_ transmitter to communicate to the T_V_, that's just sort of standard, um so most T_V_s have an I_R_ receiver. Probably a radio receiver to send out location function and to receive it and I'd probably say a buzzer for the location function on the remote itself. So that concludes my presentation. David Chavez: 'Kay. Robert Hefley: Do you know about like I dunno, Christopher Patel: Mm? Robert Hefley: you seem like you know about Christopher Patel: Yeah, uh I d I was an engineer Robert Hefley: Okay. Christopher Patel: before I came here. Robert Hefley: Cool. David Chavez: Okay. Well thank you everybody. Um we have we'll discuss that and then I just wanna mention some new project requirements that came in. Um, teletext is apparently outdated, so due to internet popularity, so that's off the list. Um, also our remote should be used only for television, um, no extra internet kinda fancy things, just the remote and the television. Um and also we need to incorporate our corporate image onto this, so um the phrase is, we put fashion in electronics, so let's be fashionable I guess. Um if we have something I mean silver and and gold or yellow are our colours, so if we had a like a kind of silver one like you saw, and yellow writing, something like that. Okay. Um. So we need to make some decisions on the remote control functions. Um, yeah. Do Let's I guess we should yeah make some kind of brainstorming, Robert Hefley: Like David Chavez: see Robert Hefley: in terms David Chavez: what we can Robert Hefley: of Charles Carroll: How it looks Robert Hefley: how Charles Carroll: or Robert Hefley: it looks, or like what David Chavez: wha Robert Hefley: it does? David Chavez: what um well probably our target group and how it's gonna going to appeal to our target group Robert Hefley: Okay. David Chavez: and I dunno the the s the buttons and what it does and Robert Hefley: Yeah. David Chavez: that sort of thing. Robert Hefley: Okay. David Chavez: So. Robert Hefley: So Is our target group then people so do we wanna go ahead and design this thing with the finder button? So David Chavez: I think that Christopher Patel: It's David Chavez: seems Christopher Patel: easy to David Chavez: to Christopher Patel: implement. David Chavez: yeah. Robert Hefley: Okay. David Chavez: Mm. Robert Hefley: So Charles Carroll: the the Robert Hefley: the Charles Carroll: buzzer you Robert Hefley: yeah, Charles Carroll: mean, Robert Hefley: yeah, Charles Carroll: yeah, Robert Hefley: yeah. Christopher Patel: Locator. Charles Carroll: for sure, Robert Hefley: So Charles Carroll: yeah. Robert Hefley: then our target age group would be the nineteen to thirty five range, David Chavez: Yeah, Robert Hefley: what David Chavez: teenagers Robert Hefley: was it? David Chavez: and young professionals. Charles Carroll: Well that's for speech recognition. Robert Hefley: Oh. Christopher Patel: Well David Chavez: Oh, Charles Carroll: And screen. David Chavez: uh. Charles Carroll: That's only for Christopher Patel: I Charles Carroll: speech Christopher Patel: was thinking Charles Carroll: recognition Christopher Patel: about Charles Carroll: and Christopher Patel: that Charles Carroll: screen. Christopher Patel: but uh I mean speech recognition is really hard to programme, and also, David Chavez: Yeah. Christopher Patel: if the T_V_ is on it's making sound and the people on the T_V_ are talking, and if somebody says like one, then the T_V_'s gonna switch itself to channel one, Charles Carroll: Yeah yeah Christopher Patel: or Robert Hefley: Yeah. David Chavez: Mm. Charles Carroll: yeah. Christopher Patel: it Charles Carroll: I Christopher Patel: seems Charles Carroll: mean Christopher Patel: like a silly, Robert Hefley: Yeah. Christopher Patel: I'm not sure how you would implement it. Charles Carroll: I just put the values in. David Chavez: And Charles Carroll: But David Chavez: if Charles Carroll: um David Chavez: if you Charles Carroll: the David Chavez: consider Charles Carroll: screen David Chavez: our Charles Carroll: is David Chavez: budget, Charles Carroll: the same as David Chavez: it Charles Carroll: what, David Chavez: probably Christopher Patel: It's a cool idea David Chavez: if you consider Christopher Patel: but David Chavez: our budget, to Robert Hefley: Yeah. David Chavez: h have speech recognition programmed in every single remote might be a little Charles Carroll: Yeah, I'm David Chavez: pricey. Charles Carroll: happy with David Chavez: Yeah. Charles Carroll: that. Completely. Robert Hefley: Hu yeah. David Chavez: Right so um Robert Hefley: Okay so are we gonna have just some kind of a like we'll have the buzzer David Chavez: yeah. Robert Hefley: on the som like on the T_V_ itself. Christopher Patel: Well you would have to have a button on a T_V_ Charles Carroll: Yeah. Christopher Patel: or on your wall or some place David Chavez: Yeah. Christopher Patel: since the T_V_ already has power. Robert Hefley: Yeah. Christopher Patel: Yeah you click the button, it's gonna send out a signal, and I was thinking, I_R_ is line of sight, so unless the remote is like actually in front of the T_V_ it's not gonna work, um so probably like a radio signal like on a Robert Hefley: Okay. Christopher Patel: on a Robert Hefley: Okay. Charles Carroll: Yeah. Christopher Patel: cell phone. Charles Carroll: Okay. Robert Hefley: Alright. David Chavez: Okay. Christopher Patel: Sends out a signal and then the the remote hears the signal and so it beeps probably. Robert Hefley: Okay. David Chavez: So you you'd need like a separate base for that or like something Christopher Patel: It would have David Chavez: you Christopher Patel: to David Chavez: can Christopher Patel: be sold separately because David Chavez: right. Christopher Patel: if the sender's on the remote then you'd have to find the remote first to click the button to David Chavez: Yeah, Christopher Patel: find the remote. David Chavez: yeah. Charles Carroll: So do you plug it in the T_ you plug it in T_V_, this Christopher Patel: Yeah, it'd Charles Carroll: thing? Christopher Patel: probably just stick it on your T_V_ so Charles Carroll: Okay. Christopher Patel: if you need to find the remote, click Charles Carroll: Okay. Christopher Patel: the button. Robert Hefley: So it's now like a two-part Christopher Patel: Yeah, Robert Hefley: thing. Christopher Patel: so it would be Robert Hefley: Okay. Christopher Patel: a two part package. Robert Hefley: Alright. Charles Carroll: Okay. Robert Hefley: So we get to design that too. Make it fashionable. Um, okay. David Chavez: So do you think even though we're not talking about speek speech recognition our target group should still be teenagers and young professionals. Christopher Patel: Yeah I think Charles Carroll: Yeah. Christopher Patel: so. David Chavez: Huh. Charles Carroll: Just there. David Chavez: Okay. Charles Carroll: Mm. Are we um should that thing be on the thing to put the you s you talking about a home for it. Do you David Chavez: Yeah. Charles Carroll: still want to build a little thing next to the telly or to p hang on the wall or shall we leave that for now? David Chavez: We probably leave that. I mean I guess one takes care of the other, Charles Carroll: Okay. David Chavez: like Robert Hefley: Yeah. David Chavez: um if you can yeah if you can call it then it's Robert Hefley: Then it can live anywhere. David Chavez: Yeah. Charles Carroll: Okay. Robert Hefley: Yeah. Charles Carroll: For the so you have that button, that so there's is there a light or shall we leave just have a radio? Christopher Patel: Um Charles Carroll: Are we just Christopher Patel: on the Charles Carroll: having Christopher Patel: T_V_ Charles Carroll: a radio? Christopher Patel: or on the phone? Charles Carroll: On the phone. Christopher Patel: Um Robert Hefley: T Christopher Patel: it seemed Charles Carroll: You don't Christopher Patel: like a Charles Carroll: need a light. Christopher Patel: a beep seemed the most Charles Carroll: Yeah Christopher Patel: reasonable Charles Carroll: yeah Christopher Patel: to Charles Carroll, Charles Carroll: yeah. Christopher Patel: I think David Chavez: Yeah. Christopher Patel: that's what the phone Charles Carroll: Yeah Christopher Patel: has, Charles Carroll: yeah. David Chavez: Yeah. Christopher Patel: I mean when you need to find your phone, you just have someone call it and it starts ringing somewhere and then you can figure out David Chavez: And Christopher Patel: that it's David Chavez: like Christopher Patel: in the David Chavez: if Christopher Patel: couch David Chavez: the Christopher Patel: or David Chavez: if Christopher Patel: wherever. David Chavez: the phone's under the couch, you Charles Carroll: You David Chavez: might Charles Carroll: can David Chavez: not Charles Carroll: hear David Chavez: see the Charles Carroll: it's David Chavez: light, Charles Carroll: under the David Chavez: so Charles Carroll: couch yeah. David Chavez: yeah. Robert Hefley: So Charles Carroll: Um, Robert Hefley: i Yeah. Charles Carroll: So need the other buttons. So we have this David Chavez: So Charles Carroll: mm. David Chavez: I mean the two remotes that you had shown r I don't remember Charles Carroll: Mm-hmm. David Chavez: who Robert Hefley: That David Chavez: showed Robert Hefley: was David Chavez: them, Robert Hefley: that David Chavez: yeah Robert Hefley: was Charles Carroll. David Chavez: you you did um, they're I mean one looked like it was for V_C_R_ type thing, and the other looked like just Robert Hefley: I David Chavez: television. Robert Hefley: think w I think they're both sort of just like general remo they're both general David Chavez: Oh really. Robert Hefley: remotes. And David Chavez: 'Cause that Robert Hefley: uh David Chavez: that is something we have to decide, is whether we want to have V_C_R_ capabilities. Robert Hefley: Yeah. Christopher Patel: Does anyone know if V_C_R_s are the same across international? David Chavez: They're not Charles Carroll: They're not, David Chavez: no. Charles Carroll: no. Christopher Patel: Okay, so you'd Robert Hefley: S Christopher Patel: need like a whole different David Chavez: Yeah, Christopher Patel: set of buttons David Chavez: that's Charles Carroll: It Christopher Patel: for David Chavez: right, Christopher Patel: everybody's Charles Carroll: not David Chavez: yeah. Charles Carroll: V_H_S_ Christopher Patel: V_C_R_s. David Chavez: But Charles Carroll: here? David Chavez: D_V_D_ probably is. Christopher Patel: Yeah, other than that region and coding thing. Robert Hefley: Um Charles Carroll: But V_C_R_s David Chavez: And and if we're if we're targeting young professionals and teenagers, I mean it's gonna be D_V_D_ type, Charles Carroll: Yeah. David Chavez: that's Charles Carroll: Yeah, David Chavez: the Charles Carroll: for David Chavez: the Charles Carroll: sure. David Chavez: technology Robert Hefley: Yeah. Christopher Patel: Mm-hmm. David Chavez: these days. Robert Hefley: So. Okay, let's see if I can I think still though, it shouldn't be that hard to take like just reduce the number of buttons you know, David Chavez: Yeah. Robert Hefley: like 'cause if you just have like one menu button, that works like with a you know, or you can just kind of scroll through the David Chavez: Yeah. Robert Hefley: options u Charles Carroll: Well Robert Hefley: that Charles Carroll: for Robert Hefley: come Charles Carroll: sure Robert Hefley: up Charles Carroll: we Robert Hefley: on the Charles Carroll: need Robert Hefley: T_V_. Charles Carroll: the um I think we can just design the channels? I mean power's David Chavez: S Charles Carroll: just a button, Robert Hefley: Yeah. Christopher Patel: Mm-hmm. David Chavez: Huh. Charles Carroll: and it's not used that much, s and Robert Hefley: Yeah. Charles Carroll: it's usually that red Robert Hefley: Yeah. Charles Carroll: and I think it's quite nice to keep it like Robert Hefley: Yeah. Charles Carroll: red. David Chavez: You know, I've seen some remotes that where you just hold one, like if you hold one down it's it's a different colour than the other buttons but that turns it on. So you don't actually have a separate power button, Charles Carroll: Oh David Chavez: it's Charles Carroll: okay, David Chavez: just Charles Carroll: yeah. Robert Hefley: It seems like that would be David Chavez: But Robert Hefley: hard though. I mean, like because unless you David Chavez: It might Robert Hefley: know David Chavez: be confusing. Robert Hefley: yeah. David Chavez: Yeah. Robert Hefley: Just 'cause I wouldn't I would probably pick it up and just David Chavez: Yeah. Robert Hefley: be like uh why is there no on David Chavez: Besides Robert Hefley: button. David Chavez: you like to be able Christopher Patel: Yeah, David Chavez: to go Christopher Patel: I never Charles Carroll: Yeah. David Chavez: power. Christopher Patel: think to hold something David Chavez: I Robert Hefley: Yeah. Christopher Patel: down. Robert Hefley: B David Chavez: have the power Robert Hefley: Yeah. David Chavez: I guess. So we definitely want a power button and numbers. Robert Hefley: Yeah. David Chavez: Right. Charles Carroll: Well even um iPod thing, like um, I don't know if people like this Robert Hefley: That Charles Carroll: scrolling Robert Hefley: sort of like Charles Carroll: I Robert Hefley: joystick Charles Carroll: don't know. Robert Hefley: flat David Chavez: Mm. Robert Hefley: touch Charles Carroll: Yeah. Robert Hefley: thing, yeah. Charles Carroll: Because people li seem now the iPod's out people seem to like this thing that there's no Know you don't have one two three Robert Hefley: Yeah, Charles Carroll: four Robert Hefley: yeah. Charles Carroll: five Robert Hefley: I think that's an interesting idea, 'cause David Chavez: Mm. Robert Hefley: it's cool, it's it's funny like you f like I just I don't have an iPod but like I, you know, I just like started messing around with one of my friend's the other day, and you just sort of and it's funny how you pick it up and you just figure out how to use it quite easily, like it's not that hard, David Chavez: Yeah. Robert Hefley: you know. Charles Carroll: Yeah yeah, it's just and it's one thing Robert Hefley: Yeah, Charles Carroll: which has Robert Hefley: and Charles Carroll: everything. Robert Hefley: it is yeah. It is really but do you need a screen then, do you have to have a screen then? Charles Carroll: Well can't it tell the like can't you Christopher Patel: Yeah, you Charles Carroll: if Christopher Patel: can Charles Carroll: you Christopher Patel: have the number going Charles Carroll: you Robert Hefley: Yeah. Charles Carroll: can Christopher Patel: around Charles Carroll: have the number Christopher Patel: in the corner. Robert Hefley: Okay. Charles Carroll: on the telly going Robert Hefley: Yeah. Charles Carroll: like one two three four five Robert Hefley: Yeah. Charles Carroll: once you scroll Robert Hefley: Okay Charles Carroll: and then Robert Hefley: so we David Chavez: Oh Robert Hefley: have David Chavez: that's Robert Hefley: this David Chavez: gonna Robert Hefley: like scrolling sort of button. David Chavez: Is that like on Robert Hefley: Like a David Chavez: on Robert Hefley: disc. David Chavez: a mouse pad where Robert Hefley: Yeah. David Chavez: like kind Robert Hefley: Yeah. David Chavez: of Robert Hefley: It's David Chavez: okay. Robert Hefley: like it's just like the same David Chavez: I've Charles Carroll: It's David Chavez: never Charles Carroll: like Robert Hefley: technology David Chavez: used Charles Carroll: l David Chavez: one. Robert Hefley: as a mouse Charles Carroll: this David Chavez: No. Robert Hefley: pad. Charles Carroll: like that, and David Chavez: Okay. Charles Carroll: then you do that. David Chavez: Okay. Robert Hefley: Yeah. Yeah Charles Carroll: And Robert Hefley: and Charles Carroll: then Robert Hefley: then. Charles Carroll: you can have um if you actually just want to zap, you can have like a thing like that, and that, and then it can just be plus and minus. Robert Hefley: Okay. So like it's like a little part of the circle that Or it Charles Carroll: Yeah, Robert Hefley: oh Charles Carroll: you can Robert Hefley: so it's just David Chavez: Well Robert Hefley: a region David Chavez: i Robert Hefley: of the circle that you can Charles Carroll: Yeah, click Robert Hefley: zap. Charles Carroll: o actually Robert Hefley: Okay. Charles Carroll: click David Chavez: We could Charles Carroll: on to David Chavez: we could Charles Carroll: have David Chavez: even have four buttons, like, if that's the if that's the mouse, you could have the volume Charles Carroll: Yeah. David Chavez: and the channel changers Robert Hefley: Yeah. David Chavez: just like on that as well. Robert Hefley: be like the top it and the bottom So do you need to Christopher Patel: Doesn't Robert Hefley: okay. Christopher Patel: it rotate though, so it'll be Robert Hefley: Well Christopher Patel: moving Robert Hefley: y you Christopher Patel: around. Robert Hefley: have to you have to like be able to change the function of it to like Charles Carroll: What do you mean the function? Robert Hefley: I mean like okay, 'cause so I dunno, I guess Okay so when you g scroll your thumb like around it, it'll s like say you're go you're going clockwise. That that means you're gonna go up the channels, and then you Charles Carroll: Yeah. Robert Hefley: scroll the other way and it'll go down. Charles Carroll: Yeah. Christopher Patel: Mm-hmm. Robert Hefley: But then so if you wanna switch to the to u do you have to switch to a function where like y so you're either in that mode or you're in the mode where like it just has like the four like you know this is channel that way, that's that way and volume is up and down. Charles Carroll: Yeah but it knows for some Robert Hefley: It Charles Carroll: reason. Robert Hefley: just Charles Carroll: The iPod knows. Robert Hefley: It just kno the iPod knows. S Christopher Patel: If it works on an iPod then it works. Robert Hefley: Yeah. David Chavez: Huh. Robert Hefley: So you just you just Christopher Patel: I don't Robert Hefley: can Christopher Patel: have Robert Hefley: either Christopher Patel: one. Robert Hefley: do this or like you can just touch it if you want. Charles Carroll: Well for the volume you have to press the middle, Robert Hefley: Okay. That's Charles Carroll: and Robert Hefley: what Charles Carroll: then Robert Hefley: I mean. Okay. Charles Carroll: go up. Robert Hefley: Okay so you have to like Christopher Patel: Oh. Robert Hefley: press this middle region and then you can scroll up, go up Charles Carroll: And Robert Hefley: and down. Charles Carroll: then David Chavez: So Charles Carroll: well David Chavez: it's like Charles Carroll: if you David Chavez: holding Charles Carroll: do that it goes, but if you like that makes more sense 'cause there's already ones with up and down David Chavez: You can Charles Carroll: here, David Chavez: o Charles Carroll: that I've seen. David Chavez: And you you is there an extra actual button? Or are you actually you're just using the mouse to go up and down. Charles Carroll: Well what you David Chavez: Like Charles Carroll: for the Robert Hefley: It's Charles Carroll: iPod Robert Hefley: like a b Charles Carroll: you press an w right if you're on the channel let's David Chavez: Mm-hmm. Charles Carroll: say, then you press on the middle David Chavez: Mm-hmm. Charles Carroll: and then if you do that again the volume goes up, and David Chavez: Right. Charles Carroll: if you do that it goes down. David Chavez: Mm-hmm. Charles Carroll: But if you wanna keep it with volume here and here, I'm pretty sure David Chavez: this for channels, right, Charles Carroll: Yeah. David Chavez: then y wouldn't the volume need to be separate somehow? Like you could just have Charles Carroll: I don't know, you David Chavez: Oh, Charles Carroll: could click David Chavez: like Charles Carroll: and then have it up and Robert Hefley: Like Charles Carroll: down, David Chavez: Oh Charles Carroll: but David Chavez: you Charles Carroll: I think David Chavez: could actually Robert Hefley: I think we can go on the fact that it does just work with the Charles Carroll: Yeah Robert Hefley: iPod. Charles Carroll: yeah Christopher Patel: Yeah. David Chavez: Yeah. Robert Hefley: But Charles Carroll: yeah. Robert Hefley: the only thing is like, iPods are so expensive, like, it has to be is that part of David Chavez: Is that what makes them Robert Hefley: yeah, David Chavez: expensi I think Robert Hefley: I David Chavez: it's Robert Hefley: dunno, David Chavez: all of they Robert Hefley: I dunno. David Chavez: have Christopher Patel: I don't David Chavez: so Christopher Patel: think David Chavez: much Christopher Patel: so. David Chavez: memory though, Robert Hefley: You don't David Chavez: that's Robert Hefley: think so? David Chavez: it's Christopher Patel: I Robert Hefley: Okay. Christopher Patel: don't think it's the Charles Carroll: I think Christopher Patel: wheel Charles Carroll: it Christopher Patel: dealy. David Chavez: Yeah. Charles Carroll: Yeah. David Chavez: I think Robert Hefley: Okay. David Chavez: it's the uh h it's their capabili I mean they it can hold what like five thousand Christopher Patel: Yeah. David Chavez: songs Robert Hefley: Yeah. David Chavez: or something. Robert Hefley: I'm thinking we could if if we're hav So ba I mean but an iPod Christopher Patel: re-programmable Robert Hefley: just has that Christopher Patel: aren't Robert Hefley: circle Christopher Patel: they? You Robert Hefley: thing David Chavez: Yeah. Christopher Patel: can put Robert Hefley: you Christopher Patel: on Robert Hefley: know. Christopher Patel: your songs and then put on a David Chavez: Yeah. Christopher Patel: different set, that's David Chavez: Yeah. Christopher Patel: probably why they're expensive, Robert Hefley: Yeah. Christopher Patel: they're like little David Chavez: S Christopher Patel: computers. Robert Hefley: Yeah. Well like since it just has the circle thing, you could make it a qui a kind of cool shape, like it could be a cool Charles Carroll: Yeah. Robert Hefley: sort of Christopher Patel: Mm-hmm. Robert Hefley: you know, because it could be circular, Charles Carroll: Yeah Robert Hefley: you Charles Carroll: yeah Robert Hefley: know, Charles Carroll: yeah. Robert Hefley: or something weird like Charles Carroll: Well Robert Hefley: that, Charles Carroll: it could Robert Hefley: just Charles Carroll: just be simple instead of being a l mass. Because, the other thing, I didn't tell you all my presentation, is that people find it find that it's a big waste of time to have to learn how to use your remote Robert Hefley: Yeah. Charles Carroll: and that's David Chavez: Mm. Charles Carroll: another thing they complained about. Robert Hefley: Yeah. Charles Carroll: Um, what other buttons were there? Volume oh we've ts just said that. Robert Hefley: So okay. Charles Carroll: Channel selection. Robert Hefley: This is just for T_V_, it's not for or it is does need to be compatible with Christopher Patel: I David Chavez: Um Christopher Patel: A D_V_D_ is simple, you just have play, Robert Hefley: Yeah. Christopher Patel: pause, Robert Hefley: So Charles Carroll: Menu. Robert Hefley: how do David Chavez: You Christopher Patel: eject, Robert Hefley: you David Chavez: know Robert Hefley: switch David Chavez: actually our our new project requirements, Christopher Patel: and David Chavez: I'm Christopher Patel: menu David Chavez: not sure Christopher Patel: maybe. David Chavez: if they meant o onl use only for television as in not for D_V_D_ or just not Christopher Patel: Oh yeah. David Chavez: internet type things. So I'll I'll Robert Hefley: Okay. David Chavez: check that and update you on the next Robert Hefley: So like if we had David Chavez: But Robert Hefley: that David Chavez: we'll hold off on that 'cause Robert Hefley: Yeah. David Chavez: But s yeah Charles Carroll: But David Chavez: uh. Charles Carroll: D_V_D_ players usually have their own remote. Robert Hefley: That's true, yeah. David Chavez: Yeah. Robert Hefley: So, I know I'm not c really Christopher Patel: But it's Robert Hefley: clear Christopher Patel: cool Robert Hefley: on Christopher Patel: to have Robert Hefley: what Christopher Patel: it all on one, because Charles Carroll: Yeah, Christopher Patel: you Robert Hefley: Yeah, Christopher Patel: wanna turn Charles Carroll: yeah, Christopher Patel: it Robert Hefley: yeah. Charles Carroll: yeah. Christopher Patel: on then you wanna turn up the volume, and then you wanna go to David Chavez: Mm. Christopher Patel: the menu, Charles Carroll: Yeah. Robert Hefley: So Christopher Patel: so Robert Hefley: you'd have David Chavez: Mm. Robert Hefley: to have like Christopher Patel: you don't Robert Hefley: I Christopher Patel: wanna Robert Hefley: think Christopher Patel: switch. Robert Hefley: you would have to have like a function switch button, you know somewhere so like you can you're either on T_V_, you're on D_V_D_ or you're on V_C_R_, David Chavez: Yeah. Robert Hefley: or you're like. Christopher Patel: Well Robert Hefley: So Christopher Patel: but D_V_D_ is only like four buttons. Charles Carroll: Yeah, it Robert Hefley: Yeah, Charles Carroll: is Robert Hefley: but Charles Carroll: only Robert Hefley: I mean Charles Carroll: fun Robert Hefley: like to switch David Chavez: But Robert Hefley: the fun David Chavez: i Robert Hefley: so like to switch the function of the little circle disc, the touch Christopher Patel: Oh. Robert Hefley: pad. David Chavez: Yeah. Christopher Patel: But I think the circle only does channel isn't applicable to D_V_D_ really 'cause you don't wanna Robert Hefley: Yeah but it it Christopher Patel: but Robert Hefley: would Christopher Patel: volume Robert Hefley: be Christopher Patel: is and volume is actually controlled on the T_V_ so you don't have to switch. Robert Hefley: So but I'm saying like, does it make sense to have like some kind of a button, so like you're if you're on T_V_, like you can switch channels, but then if uh if you're on D_V_D_ then like the channel bu like the the region of the disc that was for channels is for like switching to different tracks or s you know, to different I mean do we need to think about that, that like David Chavez: Um, Christopher Patel: Yes we David Chavez: yeah, Christopher Patel: can try David Chavez: let's Christopher Patel: that. David Chavez: think about it 'cause we need to wrap up. Um Charles Carroll: Okay. David Chavez: let's see. Um so everyone's gonna go finish their questionnaire, uh then when we come back after lunch we'll have thirty minutes of individual work, um yeah, so think about the things we've discussed and bring some new ideas to our next meeting. See you soon.

Charles Carroll gave a presentation about user requirements as shown through a usability study and demonstrated that only a small number of functions on a remote were used with frequency. She suggested focusing the interface design on the most frequently used functions. Robert Hefley presented some questions that should be considered in making the device user-friendly and displayed two existing remote controls for comparison. Christopher Patel discussed the necessary internal components and how they operated together, and presented her preferences for the type of each component to be used. David Chavez gave the group several new requirements for the project. The group discussed several product features and decided that the remote will feature a locator function and will not feature speech recognition. The group discussed whether or not the remote should control multiple devices. They discussed important button functions to include and increasing usability by incorporating a scroll wheel in the design. David Chavez instructed the other participants to fill out a questionnaire and to work on their individual presentations for the next meeting.

amisum

train

William Riner: '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 Kendall Watson: 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 Brant Cruz: You could Kendall Watson: it comes Brant Cruz: change the vegetable, Kendall Watson: yeah, I can change Brant Cruz: or fruit. Kendall Watson: the vegetable. William Riner: Oh is that broccoli? Kendall Watson: This Brant Cruz: Yeah. Kendall Watson: 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 William Riner: 'S Kendall Watson: trendy, William Riner: a very Kendall Watson: but William Riner: bright strawberry. Kendall Watson: So we'll come up with a variety of trendy and exciting fruit designs for the remote control. Brant Cruz: It's Kendall Watson: And then Brant Cruz: been Kendall Watson: people Brant Cruz: a Kendall Watson: will Brant Cruz: l Kendall Watson: be encouraged to buy three or five of them, because they'll need to switch 'em out. Brant Cruz: 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 Kendall Watson: Mm-hmm. Brant Cruz: somehow. William Riner: Oh Brant Cruz: And William Riner: yeah. Brant Cruz: 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 Kendall Watson: Well the locator is just chip that's inside there. Brant Cruz: Okay so that's just Kendall Watson: And the beeper's also inside there too somewhere. Brant Cruz: So you have to have a button on your on your you have to attach the button to the Kendall Watson: Yeah we didn't design that. Brant Cruz: Yeah we have that that has yes yet Kendall Watson: But Brant Cruz: to Kendall Watson: it Brant Cruz: be Kendall Watson: would Brant Cruz: designed. Kendall Watson: be coordinating with that of course. Brant Cruz: Yeah that c William Riner: Yeah. Brant Cruz: hey that that could you know match the handset. Kendall Watson: Mm-hmm. Brant Cruz: You could have a broccoli, or you could have a mango. So. Tada. William Riner: 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 Kendall Watson: My impression was that flat meant like like one of those square remotes. But it's William Riner: Oh. Kendall Watson: really not very William Riner: Okay. Kendall Watson: clear, because you got single curve and double curve and William Riner: Right. Kendall Watson: d I dunno what that means. One side is curved and then the other side is curved. William Riner: 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? Kendall Watson: Mm-hmm. William Riner: Um and lots of special colours actually. Uh scroll wheel. Do you see anything that I've missed? Kendall Watson: No I think that's alright. William Riner: 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. Brant Cruz: Mm. William Riner: Boo yeah. Okay. S So Mm. William Riner: Did y what did you work on? The Jeremy Brasil: Um evaluation criteria. William Riner: Okay. Do you wanna Jeremy Brasil: I've got a presentation William Riner: Okay. I think Jeremy Brasil: So I need William Riner: that's Jeremy Brasil: where's the cable? Jeremy Brasil: 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? Kendall Watson: Mm-hmm. Jeremy Brasil: 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 Brant Cruz: Yeah. Jeremy Brasil: been told. Brant Cruz: Is it possible that we can bring this up on our own Jeremy Brasil: Yeah it's in the um it's in the project documents. Brant Cruz: Is it meeting three minutes? No it's not Jeremy Brasil: It's Brant Cruz: minutes. Jeremy Brasil: called evaluation criteria. Brant Cruz: Okay. Jeremy Brasil: And it's under evaluation. William Riner: Huh, the PowerPoint Kendall Watson: Hmm? William Riner: one? Jeremy Brasil: Yeah. Brant Cruz: Okay. Cool. Jeremy Brasil: You've found it all? William Riner: Yeah. Jeremy Brasil: So it was um Yeah true's one. Brant Cruz: True's one and false is seven. Jeremy Brasil: Do you want us to discuss this together or do you want us to do it singly? William Riner: Um we can do it separately and then discuss Jeremy Brasil: Yeah okay. William Riner: it if if that's what people wanna do. Brant Cruz: So it's actually a scale. William Riner: Wait, one is true and Jeremy Brasil: Um, William Riner: so these are the questions we're answering. Jeremy Brasil: yes William Riner: And Jeremy Brasil: it's William Riner: one is Jeremy Brasil: if it's fancy you put one, William Riner: One, right Jeremy Brasil: if William Riner: okay. Jeremy Brasil: it's really unfancy it's seven. William Riner: If it's somewhere in between you put four. Jeremy Brasil: Yeah, something. Brant Cruz: Okay. William Riner: Okay. Brant Cruz: Does it feel fancy? Kendall Watson: Feels like play-dough. Brant Cruz: No. Jeremy Brasil: They shouldn't really be questions. Should be more like Jeremy Brasil: Are the batteries easy to insert? Kendall Watson: I'm gonna say yes. Jeremy Brasil: Yes? Very very true. Okay. Kendall Watson: I imagine they're somewhere on the front. We have a little case that you slip 'em in. Jeremy Brasil: Okay. William Riner: Are we just about ready? Jeremy Brasil: Apparently I'm supposed to use the whiteboard. Do we um is it necessary? William Riner: I don't think so. It's Jeremy Brasil: We'll just do William Riner: yeah Jeremy Brasil: um William Riner: the the marker thing kinda stopped working last time Brant Cruz: Yeah. William Riner: we Brant Cruz: Okay. Jeremy Brasil: Yeah. William Riner: Our animals Jeremy Brasil: Okay. William Riner: will forever be there. Un unless you feel you need it t to Jeremy Brasil: I don't feel any William Riner: okay okay. We'll Jeremy Brasil: right um Right so one point one? We'll just go in a circle. Brant Cruz: One. Kendall Watson: 'Kay Five. Jeremy Brasil: Right. Ooh I don't know. Right. One? Kendall Watson: Five. William Riner: Five. Jeremy Brasil: Five. Two. Okay so do we just add it up and divide it by four? Is that what the company does? William Riner: I I think we should Kendall Watson: It's four if you wanna do that. William Riner: Yeah. Jeremy Brasil: Yeah? Kendall Watson: It adds William Riner: Yeah. Kendall Watson: to sixteen, so that's four. Jeremy Brasil: Oh no. It adds to thirteen. One five five two. Kendall Watson: Oh I thought she said five. Brant Cruz: Hmm. Jeremy Brasil: One five five two is thirteen, over four for now. I think that's um next? Brant Cruz: Um three. Kendall Watson: Six. William Riner: Six. Jeremy Brasil: Really? Brant Cruz: Yeah. Jeremy Brasil: Two. William Riner: I wasn't Jeremy Brasil: Uh-oh. William Riner: cheating I swear. Jeremy Brasil: Right. One point three is Brant Cruz: So it's a one was true and seven was false? Kendall Watson: Huh? William Riner: Uh. Jeremy Brasil: Yeah. Brant Cruz: Okay, so you guys really didn't like it? Jeremy Brasil: I William Riner: Oh Jeremy Brasil: really Kendall Watson: Wait William Riner: I thought Kendall Watson: a minute. William Riner: it was the other way round. Kendall Watson: I thought it was the other way round too. Jeremy Brasil: Well William Riner: So we do have about Jeremy Brasil: uh William Riner: the Kendall Watson: Sh William Riner: same thing, we just have it the other Kendall Watson: Yeah William Riner: way Kendall Watson: I Jeremy Brasil: Yeah yeah. It was Kendall Watson: I was Jeremy Brasil: one Kendall Watson: thinking Jeremy Brasil: is Kendall Watson: one Jeremy Brasil: true Kendall Watson: means no Jeremy Brasil: and Kendall Watson: points, you know, Jeremy Brasil: false Kendall Watson: all the way Jeremy Brasil: is Kendall Watson: up Jeremy Brasil: seven. Kendall Watson: to the top. Jeremy Brasil: I should've kept the table up. William Riner: Oh Kendall Watson: I'll just William Riner: gosh. Okay. Kendall Watson: I'll just William Riner: Well Kendall Watson: reverse them all. It's no problem. William Riner: Yeah. Jeremy Brasil: Right, well I'm glad this came out. Brant Cruz: I was like, why did you guys design it that Jeremy Brasil: Yeah. Brant Cruz: way if you hated Kendall Watson: I thought Brant Cruz: it? Kendall Watson: you guys hated it. Jeremy Brasil: No. William Riner: Yeah. Brant Cruz: Yeah. Jeremy Brasil: Oh that's quite funny. Kendall Watson: Okay. Jeremy Brasil: Okay. William Riner: Yeah. Jeremy Brasil: Okay. So, starting again, one point one? Brant Cruz: One. Kendall Watson: Say two. William Riner: Three. Jeremy Brasil: Two. Okay, one point two? Brant Cruz: Uh three. Kendall Watson: Two. William Riner: Two. Jeremy Brasil: Two. Okay. Um, one point three? Brant Cruz: One. William Riner: One. Kendall Watson: One. Jeremy Brasil: Ha. Two point one? Brant Cruz: Uh William Riner: Two. Brant Cruz: two. Kendall Watson: Uh two. William Riner: Two point I think I missed two. Wait, is that two point one? Kendall Watson: Yeah I put it Jeremy Brasil: Yeah. Kendall Watson: down as one point four William Riner: One Jeremy Brasil: Oh Kendall Watson: for William Riner: point Kendall Watson: some Jeremy Brasil: dear, William Riner: four, Kendall Watson: reason. William Riner: one point five. Jeremy Brasil: okay. William Riner: Okay right Jeremy Brasil: Sorry. William Riner: that's I have two of them. Kendall Watson: Mine has all kinds of Jeremy Brasil: Two Kendall Watson: problems. Jeremy Brasil: and one. Sorry about that. T two point two, which is one point five. William Riner: One. Kendall Watson: Uh three. Wait why did I put three? Brant Cruz: Uh one. Kendall Watson: I meant Jeremy Brasil: Okay. Kendall Watson: one on mine too. Jeremy Brasil: Three point one. Is that correct on my William Riner: Yeah. Jeremy Brasil: slide? William Riner: Yeah. Brant Cruz: Yeah. Jeremy Brasil: Yeah? Brant Cruz: Uh one. Kendall Watson: Three point one. I have four. William Riner: Three. Jeremy Brasil: One, four, three, three, three point two? Kendall Watson: Three. William Riner: Three. Brant Cruz: Uh. One. Jeremy Brasil: Three point three. Brant Cruz: One. Kendall Watson: One. William Riner: Two. Jeremy Brasil: Four point one? Brant Cruz: One. Kendall Watson: Two. William Riner: Five. Jeremy Brasil: Two. Four point two. Brant Cruz: Two. Kendall Watson: Three. William Riner: Four. Jeremy Brasil: Two and four point three. Kendall Watson: Two. Jeremy Brasil: One, two. Brant Cruz: One. William Riner: Two. Jeremy Brasil: Right so I put one on that. Okay I'll um I'll just do the calculations now if you want to continue. William Riner: Okay. Jeremy Brasil: Or is William Riner: Um Jeremy Brasil: it tedious? I'm I'm sorry this was so tedious William Riner: No Jeremy Brasil: for William Riner: no Jeremy Brasil: everyone. William Riner: that's um Jeremy Brasil: I didn't William Riner: I Jeremy Brasil: know William Riner: think Jeremy Brasil: how William Riner: we Jeremy Brasil: else William Riner: should Jeremy Brasil: to do William Riner: look at Jeremy Brasil: it. William Riner: 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. Jeremy Brasil: Okay. Well the worst ones were three point one. Kendall Watson: Mm-hmm. Jeremy Brasil: Do does every ones have the slide? Three point William Riner: The Jeremy Brasil: one. William Riner: that was material. Jeremy Brasil: Slide show. Material technologically innovative, okay. William Riner: Mm. Jeremy Brasil: Um, do you want to change it? What are the suggestions? I don't know, anyone? William Riner: Um Brant Cruz: Which one is that again sorry? Three point one? William Riner: Mm-hmm. Jeremy Brasil: Yeah that it's three point one was not that good. Four point one. William Riner: Does the shape Jeremy Brasil: The shape. Brant Cruz: I think Jeremy Brasil: Four point two? William Riner: See I'm having I'm having trouble imagining the is it uh gonna be the size, like the the controller? It Kendall Watson: I think William Riner: or Kendall Watson: the William Riner: bigger? Kendall Watson: wheel would probably be mm. William Riner: Because Brant Cruz: What if we just smash all the vegetables down flat? And like then it you could hold it in your hand better. Kendall Watson: I think the base would definitely be larger, 'cause some of these are not as easy to hold. They're William Riner: Yeah. Kendall Watson: kinda smallish. William Riner: No but I imagine even if it was bigger, like if it's round and it's big then you you can't get Brant Cruz: Yeah. William Riner: that's why remote controls Brant Cruz: The Kendall Watson: Yeah. Brant Cruz: flat William Riner: are long Brant Cruz: one. William Riner: because Brant Cruz: Yeah. William Riner: you have that thumb kind of so c they could all be bananas and cucumbers. Brant Cruz: Yeah. William Riner: Um but I don't s I I personally don't think this is comfortable Brant Cruz: I didn't William Riner: to to Brant Cruz: yeah. William Riner: sit there, like it's Brant Cruz: But William Riner: an Brant Cruz: like William Riner: awkward Brant Cruz: if if William Riner: position. Brant Cruz: you just squash them flat like and you made it flat Kendall Watson: Well if they're that s uh stress ball stuff they would be pretty squishable. Brant Cruz: But it's Kendall Watson: Mm. Brant Cruz: still too big I think, in your William Riner: Yeah. Brant Cruz: hand. Yeah. William Riner: And would it even resemble fruit that way? I mean Brant Cruz: Yeah like certain ones you'd have to limit the fruit selection, William Riner: Yeah. Brant Cruz: like you could probably do a strawberry still. William Riner: Yeah. Brant Cruz: I think the broccoli would be out. You could do, although the broccoli is quite comfortable, I have to say, like sorta William Riner: Yeah Brant Cruz: like William Riner: that Brant Cruz: a joystick. William Riner: I I when you were holding Jeremy Brasil: Yeah. William Riner: that before, it Jeremy Brasil: That William Riner: actually Jeremy Brasil: looked William Riner: looked Jeremy Brasil: really good. William Riner: yeah. Brant Cruz: I don't know. So Jeremy Brasil: Are there any fruits that look like broccoli, no? Brant Cruz: Uh. Kendall Watson: Not that I can think of. Rhubarb. Brant Cruz: Rhubarb. These obscure Jeremy Brasil: I think Brant Cruz: fruits. Jeremy Brasil: that broccoli is my favourite actually. William Riner: Yeah. Jeremy Brasil: Uh despite the Brant Cruz: I think we William Riner: What Brant Cruz: needn't William Riner: 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. Brant Cruz: Huh? William Riner: You Brant Cruz: Oh William Riner: know Brant Cruz: okay. William Riner: like like Kendall Watson: So William Riner: just Kendall Watson: it's just William Riner: a Kendall Watson: colour, William Riner: printed Kendall Watson: and not William Riner: yeah Kendall Watson: necessarily William Riner: or Kendall Watson: the shape William Riner: coloured Kendall Watson: of a strawberry. Brant Cruz: Yeah. William Riner: yeah. Brant Cruz: That could work. Jeremy Brasil: Yeah. William Riner: Or I mean we could even have fruit like around Brant Cruz: Yeah. William Riner: I mean Brant Cruz: Yeah. I dunno. William Riner: But Jeremy Brasil: Yeah William Riner: if Jeremy Brasil: and William Riner: we Jeremy Brasil: just William Riner: if Jeremy Brasil: have the William Riner: we Jeremy Brasil: colour William Riner: need Jeremy Brasil: match or something. William Riner: 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 Brant Cruz: Yeah. William Riner: the Brant Cruz: 'Cause yeah no-one wants to hold a remote that's uncomfortable obviously. William Riner: Mm. Jeremy Brasil: Mm. Brant Cruz: 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 William Riner: Yeah. Brant Cruz: is you have to attach that, and this has to be detachable. William Riner: Yeah. Brant Cruz: So like maybe that's just too William Riner: Well Brant Cruz: big William Riner: see th Brant Cruz: because William Riner: the reason the broccoli works is you can kinda hold it like that, Brant Cruz: Yeah William Riner: which is Brant Cruz: it's Jeremy Brasil: Yeah. William Riner: a Brant Cruz: sorta William Riner: nice Brant Cruz: like William Riner: kind Brant Cruz: a joystick. William Riner: of yeah. But Brant Cruz: I dunno. I guess William Riner: I mean is there some way we could make it this kind of shape? 'Cause like Kendall Watson: We William Riner: kind Kendall Watson: could make William Riner: of Kendall Watson: it that shape but just have different colours, William Riner: Yeah, Kendall Watson: and call Brant Cruz: Yeah. Jeremy Brasil: Yeah. Kendall Watson: 'em the William Riner: yeah. Kendall Watson: different fruits. William Riner: Or Brant Cruz: Dif William Riner: like Kendall Watson: We William Riner: even Kendall Watson: went with shape because we were having William Riner: Or Kendall Watson: fun William Riner: even Kendall Watson: with the play-dough. William Riner: like Yeah like you said, like a joystick like that. Brant Cruz: Yeah. William Riner: You know? Brant Cruz: Yeah. Like uh we could do I'm trying to think of other sha like fruits that are oddly shaped. William Riner: 'Cause that, I think I mean that fits the whole round iPod idea. Brant Cruz: Yeah. Kendall Watson: Mm-hmm. William Riner: And Jeremy Brasil: Yeah. William Riner: you still have the comfort of holding it like that. Brant Cruz: Mm. William Riner: And you could like if it's like this, you could put fruit designs and stuff on Brant Cruz: Yeah. William Riner: that Brant Cruz: Yeah. William Riner: part. Brant Cruz: Alright. William Riner: But I mean it do we have any other ideas about that? Jeremy Brasil: Um Brant Cruz: We could tr I don't know. Jeremy Brasil: 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 William Riner: The Jeremy Brasil: any William Riner: batteries are Kendall Watson: That William Riner: going Jeremy Brasil: more. Kendall Watson: everyone gave that a one or a two. William Riner: in the back? Kendall Watson: Yeah Jeremy Brasil: No. Kendall Watson: they'd probably be either on the front or the side of William Riner: The reason Kendall Watson: the remote. William Riner: 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 Kendall Watson: No William Riner: clip no Kendall Watson: I imagine William Riner: you could Kendall Watson: there'd be sort of a hatch William Riner: Just Kendall Watson: door, William Riner: like any other one. Kendall Watson: yeah um William Riner: Okay. Kendall Watson: like on a normal remote. William Riner: Yeah. Right. Kendall Watson: 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. William Riner: Okay. Jeremy Brasil: I think everyone's under three anyway. William Riner: Mm. Jeremy Brasil: So I think it's yeah those are the only two points. Brant Cruz: Cool. Well Yeah the broccoli I guess wins. Jeremy Brasil: Yeah. Kendall Watson: Yeah I'd agree with changing the shape. Um, William Riner: Okay. Kendall Watson: I was just having fun making strawberries and stuff. Brant Cruz: 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 Kendall Watson: It might Brant Cruz: like Kendall Watson: also sort of annoy people if we get used to having the buttons Brant Cruz: Yeah Kendall Watson: in Brant Cruz: that's Kendall Watson: one shape. Brant Cruz: true. William Riner: Yeah. Brant Cruz: Yeah. William Riner: And it would probably cost more to produce, Brant Cruz: Yeah that's William Riner: 'cause Brant Cruz: true. William Riner: they're irregular. Brant Cruz: Mm. Kendall Watson: I bet having different colours is a lot cheaper than having different shapes too. William Riner: Yeah. Which is why printing might be like just printing the fruit on fruit. Brant Cruz: Hmm. William Riner: Mm. William Riner: Not really Well we've done finance evaluation criteria, production evaluation. Um so project evaluation. Jeremy Brasil: Do you want this and we can all No. William Riner: I guess we're supposed to discuss um the prod the process of the project and how satisfied oh, oh it's alright. Uh. Jeremy Brasil: It's alright yeah? William Riner: Yeah. Um Did you feel there was a lot of room for creativity in the sort of Kendall Watson: Sure. William Riner: Yeah. Brant Cruz: I did. Jeremy Brasil: Yeah. William Riner: I mean fruit and squishiness. How c more creative Kendall Watson: Sponginess. William Riner: can you get? Brant Cruz: 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. William Riner: And how was our leadership and teamwork? Kendall Watson: I think it was good. We knew what we were doing. It was a very democratic process and everyone got to contribute. William Riner: Well I thought my leadership was crap personally. Excuse Jeremy Brasil, Kendall Watson: Well William Riner: am Kendall Watson: you William Riner: I allowed Kendall Watson: told William Riner: to Kendall Watson: us William Riner: say Kendall Watson: when William Riner: that? Kendall Watson: to start and when to end, and that's all William Riner: Yeah. Kendall Watson: that matters. William Riner: Um. Brant Cruz: I think you were fine. You did William Riner: Yeah, Brant Cruz: a good job leading. William Riner: well I'm never gonna do a management position, I know that now. Um yeah, I thought we all worked very Jeremy Brasil: Yeah William Riner: well Jeremy Brasil: we didn't William Riner: together. Jeremy Brasil: we uh it all c sort of blended William Riner: Yeah. Jeremy Brasil: quite Brant Cruz: Yeah Jeremy Brasil: well. Brant Cruz: I think it more than anything we didn't really have our set roles so much, as we just would be like William Riner: Yeah. Brant Cruz: I don't know, all had ideas William Riner: Very democratic. Brant Cruz: about it but yeah. William Riner: No spats, that was good. Brant Cruz: No. William Riner: Um and the means for like the materials we used, how convenient were they? Like the the pens, the whiteboard, I mean Kendall Watson: Well I'm not William Riner: we Kendall Watson: a William Riner: used Kendall Watson: big fan of any Microsoft, PowerPoint or any William Riner: Are you Kendall Watson: of William Riner: a Kendall Watson: this William Riner: Mac Kendall Watson: stuff. William Riner: person? Kendall Watson: No no I never touch Macs either. I just use the Unix or the off market, sort of WordPerfect and all these other things. William Riner: Huh. Brant Cruz: Hmm. Jeremy Brasil: Which isn't very user-friendly Kendall Watson: Yeah. Jeremy Brasil: though. Kendall Watson: 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. Brant Cruz: 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 Jeremy Brasil 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. William Riner: Mm. Brant Cruz: So I didn't really think it was helpful. So I kind of just made up my own stuff and I William Riner: Yeah. Brant Cruz: didn't really like the PowerPoint presentations, so I kind of wrote a lot of notes instead. But William Riner: Yeah. Brant Cruz: yeah I d I don't really like PowerPoint personally, think it's kinda Kendall Watson: Yeah. Brant Cruz: stupid. Kendall Watson: I never use it. Brant Cruz: Yeah but uh William Riner: I can't say I found everything particularly helpful. Brant Cruz: Yeah. William Riner: Like Brant Cruz: It didn't William Riner: I Brant Cruz: really Kendall Watson: Yeah. Brant Cruz: yeah. William Riner: It Jeremy Brasil: I Kendall Watson: My first Jeremy Brasil: though it Kendall Watson: bit Jeremy Brasil: was Kendall Watson: of information Jeremy Brasil: brilliant Kendall Watson: was Jeremy Brasil: no? Kendall Watson: like William Riner: Really? Kendall Watson: this child's drawn picture of how a remote works. Jeremy Brasil: No mine was really helpful as in my stuff was quite helpful I think. Brant Cruz: So William Riner: I Brant Cruz: like Jeremy Brasil: I William Riner: mean Brant Cruz: a f Jeremy Brasil: think it William Riner: m my Jeremy Brasil: depends William Riner: problem Jeremy Brasil: on the role no? Brant Cruz: Yeah William Riner: yeah, Brant Cruz: I Kendall Watson: Yeah Brant Cruz: think so. Kendall Watson: it probably does. William Riner: yeah. 'Cause my problem was, you guys had access to like they'd put send you to sites and stuff right? Kendall Watson: Yeah. William Riner: 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 Kendall Watson: Yeah well mine was mostly made up except when they told Jeremy Brasil like you know titanium costs more than William Riner: Yeah. Kendall Watson: wood to make a remote control. Jeremy Brasil: Yeah. Kendall Watson: you'd William Riner: Yeah. Kendall Watson: wanted to. Jeremy Brasil: But it must have been quite difficult for them to build a whole um William Riner: System. Jeremy Brasil: a whole system, William Riner: Yeah. Jeremy Brasil: 'cause of course they can't give you uh uh anything comparable to the internet for Brant Cruz: Yeah Jeremy Brasil: the Brant Cruz: I mean, William Riner: Yeah. Kendall Watson: Well I think Brant Cruz: it Kendall Watson: it's interesting how it all went together, like I had the stuff about how Jeremy Brasil how rubber's cheap, and you have how Jeremy Brasil: Yeah, Kendall Watson: people Jeremy Brasil: yeah. Kendall Watson: want it to be spongy, and William Riner: Yeah, huh. Kendall Watson: It seems planned you know. William Riner: Yeah. Brant Cruz: 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 William Riner: Yeah. Brant Cruz: I felt like I was off-task all the time. But um William Riner: 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 Jeremy Brasil: No. William Riner: you know? Brant Cruz: Yeah. Kendall Watson: Yeah. William Riner: So Kendall Watson: If William Riner: it's Kendall Watson: I hadn't been told that fruit was Jeremy Brasil: But I think that it it might be to see whether people actually all come up with the same William Riner: Oh Jeremy Brasil: thing. William Riner: right. given certain information or Jeremy Brasil: Yeah, William Riner: Just Jeremy Brasil: like William Riner: yeah. Jeremy Brasil: if everyone's given the same input I don't have a clue, William Riner: Mm, Jeremy Brasil: anyway. Um William Riner: mm. Jeremy Brasil: what's next? Looks like oh no that's not um It's William Riner: What Jeremy Brasil: quite William Riner: do you guys think of the pens? It asks Kendall Watson: They're William Riner: about Kendall Watson: pretty William Riner: that. Kendall Watson: cool. William Riner: Mm. Kendall Watson: They're Brant Cruz: I Kendall Watson: kinda Brant Cruz: wanna s Kendall Watson: hard to write with though. William Riner: Yeah Jeremy Brasil: Yeah. William Riner: and I I've f forgotten once or twice to check the box. Brant Cruz: I I'd like to see what what it looks like on the Kendall Watson: 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. William Riner: Mm. Kendall Watson: But even so, I dunno. William Riner: And new ideas found? Jeremy Brasil: Yeah it's all very new, William Riner: Yeah. Jeremy Brasil: no? It's all very new. Brant Cruz: Yeah I think I'd like to um I dunno. Like Jeremy Brasil: Sorry. Brant Cruz: it was the I think the microphones are okay when you're sitting down, but like they're kinda clumsy I guess Kendall Watson: Oh Brant Cruz: when Kendall Watson: yeah. Brant Cruz: you're like when you're s going up to the whiteboard like. Kendall Watson: Well they drop off if you like move too much. Brant Cruz: Yeah I dunno. But they're Kendall Watson: But I don't Brant Cruz: they're Kendall Watson: think Brant Cruz: okay. Kendall Watson: we're supposed to be testing these microphones. Maybe we are. I don't William Riner: Mm. Kendall Watson: know. Brant Cruz: 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 William Riner: Yeah. Brant Cruz: notes, Kendall Watson: Well Brant Cruz: or Kendall Watson: the Brant Cruz: like Kendall Watson: thing is, Brant Cruz: I Kendall Watson: like Brant Cruz: dunno. Kendall Watson: 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, William Riner: Yeah. Kendall Watson: like when you're actually at a real meeting in a real company. Brant Cruz: Hm. Kendall Watson: It's mostly like rehashing old stuff. And you're sort of going over general stuff that William Riner: Yeah. Kendall Watson: anybody who's sort of on task should already know. It's like the there's just really not a lot of information William Riner: Seems Kendall Watson: that goes William Riner: kind Kendall Watson: through. William Riner: of like an excessive Kendall Watson: It William Riner: reiteration. Kendall Watson: seems like way overkill. William Riner: Yeah. Kendall Watson: Like if I missed a meeting I could probably get it summed up in like one sentence. William Riner: Yeah. Kendall Watson: I wouldn't need to have to watch like a t two hour video with the sound and the transcript and William Riner: Yeah. Brant Cruz: 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. William Riner: Well does anyone wanna talk about fruit more while we still have time? Any other Jeremy Brasil: What William Riner: ideas Jeremy Brasil: what's William Riner: for Jeremy Brasil: the end? Are we are we supposed to um you supposed to write a report? Or we ending? William Riner: Um Jeremy Brasil: Is that the end? William Riner: 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. Brant Cruz: Yeah. William Riner: So. Um. Jeremy Brasil: End of meeting. You have to tell her, she William Riner: So I think that's all for today. Jeremy Brasil: Okay we have to fill in all this stuff. Stuff stuff Brant Cruz: M Jeremy Brasil: stuff. Brant Cruz: meeting adjourned. William Riner: Meeting adjourned. Jeremy Brasil: Yeah. Kendall Watson: I think I've learned not to bring play-dough to meetings. William Riner: Yeah. Brant Cruz: I think it would be a good idea, I like it. Kendall Watson: It's hard enough to get people actually paying attention. Especially if you have food. William Riner: So I guess we're supposed to write final reports. 'Cause Kendall Watson: All of us? William Riner: I don't know. Jeremy Brasil: Well there's al eight, William Riner: Hmm. Jeremy Brasil: nine. Ooh. Oh ooh. William Riner: Hmm. Or is that just Jeremy Brasil?

William Riner reviewed the minutes from the last meeting. Brant Cruz and Kendall Watson 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. William Riner discussed the final production cost for the device, which totaled 11.9 Euros. Jeremy Brasil 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. William Riner instructed all participants to write a final report at the end of the meeting.

amisum

train

Curtis Vaughan: 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 Jason Frank: Okay. Curtis Vaughan: uh k. Kate. Jason Frank: Um Curtis Vaughan: Oh I'm sorry, Jason Frank: Um Curtis Vaughan: oh sorry. Jason Frank: there we go. Jason Frank: '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. Jason Frank: 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 Michael Stanley 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. Curtis Vaughan: Okay, so how um sorry, Jason Frank: Mm. Curtis Vaughan: can you uh Jason Frank: Oh Curtis Vaughan: just Jason Frank: yep, Curtis Vaughan: put Jason Frank: sorry. Curtis Vaughan: that one back up again, please? Jason Frank: Yep. Curtis Vaughan: Um. Uh d d d okay, I mean uh inevitably a b a custom design chip is gonna be more expensive. Jason Frank: Mm. Curtis Vaughan: Do we do we know uh by how Jason Frank: Um Curtis Vaughan: much? Jason Frank: I don't actually have any price information, no. Curtis Vaughan: And and do we know how long it'll take to uh develop a a custom chip. Jason Frank: 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 Curtis Vaughan: Right, Jason Frank: developed, it's sort of still Curtis Vaughan: okay. Jason Frank: still in an ex experimental form, uh so it would uh it's hard to predict the time. Curtis Vaughan: Right, I think we need to make a a decision here. Uh given that the company wants this on the market quickly and cheaply, Jason Frank: Mm. Curtis Vaughan: 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 Christopher Flake: I Curtis Vaughan: h have any have anyti ha anything to say about that? Christopher Flake: 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 Jason Frank: W Christopher Flake: and that Jason Frank: just Christopher Flake: w Jason Frank: to to incorporate the voice activation in it is is sorta the trick. Once Christopher Flake: Okay. Jason Frank: you've got the whole voice chip Christopher Flake: Then Jason Frank: in there, Christopher Flake: it doesn't Jason Frank: then Christopher Flake: matter. Jason Frank: it's pretty much Christopher Flake: Okay. Jason Frank: the the world the the sky is your limit, but to actually the the big step is to actually get the voice Christopher Flake: Okay. Jason Frank: activation chips in there and working. Curtis Vaughan: Cause uh I must say I find it slightly surprising given that, you know, mobile phones incorporate voice activated dialling. So uh Christopher Flake: Yeah. Curtis Vaughan: 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 Jason Frank: Uh Curtis Vaughan: information, Jason Frank: bits Curtis Vaughan: is it? Jason Frank: of it, yeah. Curtis Vaughan: So Christopher Flake: Of course Curtis Vaughan: uh Christopher Flake: mobile phones do tend to be more expensive, Jason Frank: Yes, as well. Christopher Flake: you know, hundred and fifty pounds or something. As opposed to Curtis Vaughan: Yeah, Christopher Flake: the Curtis Vaughan: mm true, Christopher Flake: twenty Curtis Vaughan: again but Christopher Flake: Euros, Curtis Vaughan: if it's without Christopher Flake: twenty Curtis Vaughan: any Christopher Flake: five Euros. Curtis Vaughan: without any uh p price informations that's uh difficult to uh uh decide. Christopher Flake: Yeah. Michael Stanley: Also lots of mobile phones have got a lot of technology in them, not just Jason Frank: Mm. Michael Stanley: that, Curtis Vaughan: Yeah, Michael Stanley: so. Curtis Vaughan: 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 Christopher Flake: Yeah. Curtis Vaughan: 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? Christopher Flake: Well, another Michael Stanley: Would Christopher Flake: thought I oh, sorry, go ahead. Michael Stanley: 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. Curtis Vaughan: I mean do w do we think that the voice technology is fundamental to the project? Jason Frank: 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 Curtis Vaughan: I mean I think Jason Frank: you have Curtis Vaughan: we Jason Frank: to Christopher Flake: Oh yeah. Curtis Vaughan: Mm. Jason Frank: Hm. Christopher Flake: 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. Curtis Vaughan: Yeah, I I Jason Frank: Mm. Curtis Vaughan: I I I think that's uh Christopher Flake: And we've been talking about it the whole Jason Frank: Mm, Curtis Vaughan: Yeah, Christopher Flake: time. Anyway, Jason Frank: mm. Christopher Flake: I'm Curtis Vaughan: yeah. Christopher Flake: I'm incli kinda inclined to say that we should just Curtis Vaughan: Mm, Christopher Flake: go for Curtis Vaughan: right, Christopher Flake: it. Curtis Vaughan: okay. Jason Frank: Mm. Michael Stanley: Uh yeah, it's the second most important aspect to users that the device should be technologically innovative. Christopher Flake: Yeah. Michael Stanley: From uh my presentation Curtis Vaughan: Yeah, Michael Stanley: show, so. Curtis Vaughan: it should be Michael Stanley: Uh technologically innovative. Curtis Vaughan: Right, okay, so. Jason Frank: No, that Curtis Vaughan: Fine. Jason Frank: sounds good. Curtis Vaughan: Okay. Jason Frank: Mm. Curtis Vaughan: I it will have voice recognition Jason Frank: Mm. Curtis Vaughan: um Christopher Flake: Okay. Jason Frank: Cool. Curtis Vaughan: 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 Jason Frank: Um Curtis Vaughan: just so that people can Christopher Flake: Yeah. Curtis Vaughan: uh j j just sit Jason Frank: Yeah, Curtis Vaughan: there pressing Jason Frank: I I Curtis Vaughan: buttons? Jason Frank: would say we do, yeah. Christopher Flake: I think so. Curtis Vaughan: Right. Okay. Sorry, d did you want to say anything? Jason Frank: Uh nope, Curtis Vaughan: No? Jason Frank: that was it, Curtis Vaughan: Okay. Jason Frank: that was it. Curtis Vaughan: Shall we move rapidly Jason Frank: Okay. Curtis Vaughan: on to uh Christopher Flake: Okay. Curtis Vaughan: Kendra? Uh um ra rapidly move the cable over. Christopher Flake: Let's see. Curtis Vaughan: Mm. Oh good. Christopher Flake: Oh. Yes. Is it gonna work? Jason Frank: Yeah, Curtis Vaughan: Mm Jason Frank: it's thinking Curtis Vaughan: yeah, Jason Frank: about Curtis Vaughan: it'll Jason Frank: it. Curtis Vaughan: get there. Yep. Christopher Flake: Okay. Jason Frank: Yeah. Christopher Flake: 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 Curtis Vaughan: Mm-hmm. Christopher Flake: these were just a couple examples of um different kinds that are a little bit more unusual. There're some Curtis Vaughan: Mm, Christopher Flake: special Curtis Vaughan: yeah. Christopher Flake: ones available, like this one right here, which is Curtis Vaughan: Uh-huh. Christopher Flake: marketed towards children, um Curtis Vaughan: Alright. Christopher Flake: different designs, and one of the things that n we need to watch out for is a V_ in volume because people some Christopher Flake: Bring a little picture of what I thought ours could look like. So just kind of minimise the Curtis Vaughan: Mm-hmm. Christopher Flake: 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 Michael Stanley: Mm. Christopher Flake: for volume, for example, have the slide button on the side, and then you can pre-programme the channels, Curtis Vaughan: Mm Christopher Flake: the Curtis Vaughan: yeah. Christopher Flake: voice recognition and then the Curtis Vaughan: Sorry Christopher Flake: voice Curtis Vaughan: y Christopher Flake: response Curtis Vaughan: y Christopher Flake: sample Curtis Vaughan: yeah, Christopher Flake: locator. Curtis Vaughan: if I can interrupt you. Well d p 'kay, do you wanna say anything Jason Frank: Mm. Curtis Vaughan: about um slide controls? I mean I think the reason everybody uses pushbuttons is that they're Jason Frank: Uh Curtis Vaughan: they're si simple, cheap and Jason Frank: Uh I think they're Curtis Vaughan: reliable. Jason Frank: 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. Curtis Vaughan: Okay, Jason Frank: Mm Curtis Vaughan: fair enough, Jason Frank: yeah. Curtis Vaughan: fine. Christopher Flake: Just because I n for example if I'm using a mouse I like to be able to slide it up and Jason Frank: Mm. Christopher Flake: down so I thought it might Curtis Vaughan: Yeah. Christopher Flake: be good for volume to just be able to Curtis Vaughan: Good, Christopher Flake: kind of roll it Curtis Vaughan: good. Christopher Flake: and then have the up and down and then the Curtis Vaughan: Yeah. Christopher Flake: this is my Curtis Vaughan: So Christopher Flake: great Curtis Vaughan: three Christopher Flake: little Curtis Vaughan: three Christopher Flake: drawing. Curtis Vaughan: there's three buttons on a slider. Three buttons, Christopher Flake: Y Curtis Vaughan: channel Christopher Flake: yes, Michael Stanley: Well, Curtis Vaughan: up channel Christopher Flake: yes. Curtis Vaughan: up Michael Stanley: if Curtis Vaughan: down Michael Stanley: you g if Curtis Vaughan: and Michael Stanley: 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 Christopher Flake: Yeah. Michael Stanley: I mean. Jason Frank: Mm. Michael Stanley: 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. Curtis Vaughan: Uh-huh. Michael Stanley: So you kinda take it up one at a time. Curtis Vaughan: Okay. Christopher Flake: The only advantage Michael Stanley: D Curtis Vaughan: Um Christopher Flake: I was thinking of to having the buttons, like the buttons on one side for the channel, Curtis Vaughan: Mm-hmm. Christopher Flake: 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 Michael Stanley: Oh. Christopher Flake: know, okay, this is just the volume and this is Curtis Vaughan: This Christopher Flake: the channel. Curtis Vaughan: one Michael Stanley: Uh Curtis Vaughan: on the one Michael Stanley: you could Curtis Vaughan: side and one Michael Stanley: you Curtis Vaughan: yeah. Michael Stanley: could Jason Frank: Ye yeah, 'cause Michael Stanley: as Jason Frank: I've Michael Stanley: l Jason Frank: definitely Michael Stanley: as Curtis Vaughan: Okay. Michael Stanley: like Jason Frank: picked Michael Stanley: a mouse Jason Frank: up remotes Michael Stanley: you could Jason Frank: and like meant to Curtis Vaughan: Yeah. Jason Frank: change the channel and turn the volume, or Christopher Flake: Yeah. Jason Frank: vice versa, so it'd be Curtis Vaughan: Yeah. Jason Frank: kinda good to have them be feel completely different. You'd know what you were fiddling with. Yeah. Michael Stanley: Yeah, like Curtis Vaughan: Yeah, Michael Stanley: the shape Christopher Flake: That Curtis Vaughan: or Michael Stanley: of Christopher Flake: was Michael Stanley: it almost Curtis Vaughan: yeah Michael Stanley: like a Curtis Vaughan: uh Michael Stanley: mouse, Curtis Vaughan: th th Michael Stanley: with Curtis Vaughan: the Michael Stanley: a Curtis Vaughan: 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 Jason Frank: Mm. Curtis Vaughan: know uh know what it's going to do. Christopher Flake: Yeah. Curtis Vaughan: Okay, so we we're looking at sliders for both a uh volume and channel change Christopher Flake: Um well I was Curtis Vaughan: of Christopher Flake: thinking Curtis Vaughan: one sort. Christopher Flake: kind of just for the volume, Curtis Vaughan: Just Christopher Flake: but Curtis Vaughan: for the volume, Christopher Flake: what Jason Frank: Mm. Curtis Vaughan: uh. Christopher Flake: what Michael Stanley: Dep Christopher Flake: do you guys think? Michael Stanley: I dunno if it Christopher Flake: We Michael Stanley: depending Christopher Flake: could Michael Stanley: 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 Christopher Flake: Yeah, Michael Stanley: the buttons Jason Frank: Yeah, Michael Stanley: with your fingers. Curtis Vaughan: Fingers, yeah. Christopher Flake: yeah. Curtis Vaughan: I Jason Frank: if Curtis Vaughan: mean it's Jason Frank: yeah, Curtis Vaughan: it's Jason Frank: in that kinda position the fingers would be better for pressing and Curtis Vaughan: It Jason Frank: the Curtis Vaughan: yeah, Jason Frank: that Curtis Vaughan: I mean Jason Frank: for Curtis Vaughan: it Christopher Flake: B Jason Frank: rolling, Curtis Vaughan: it Jason Frank: just Curtis Vaughan: it seems Jason Frank: the way it Curtis Vaughan: to Michael Stanley Jason Frank: would Curtis Vaughan: that Christopher Flake: Yeah. Curtis Vaughan: uh it uh it al also has the advantage that it it the two are clearly different, Jason Frank: Mm Christopher Flake: Yeah. Jason Frank: yeah, yeah, Curtis Vaughan: um Michael Stanley: Oh yeah, yeah. Curtis Vaughan: that Jason Frank: yeah. Curtis Vaughan: there's no no possibility of uh confusing the two. So Christopher Flake: I'm just Curtis Vaughan: okay. Christopher Flake: gonna pass this along. Curtis Vaughan: Right so uh that's sorry is that that all you Christopher Flake: Yes. Curtis Vaughan: want to say at the mo okay, fine. Christopher Flake: Yeah. Curtis Vaughan: Mm right. Michael Stanley: Here we go. Curtis Vaughan: Right. Michael Stanley: Uh yeah, this is my report on trend watching. Curtis Vaughan: Mm-hmm. Michael Stanley: 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 Curtis Vaughan: Mm-hmm. Michael Stanley: uh instead of the current functional look and feel. This is a st well I was gonna say yeah twice as important as the Curtis Vaughan: Mm. Michael Stanley: 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 Curtis Vaughan: Well I I mean I th I think that what we're suggesting ought to address all three of those. Michael Stanley: Uh Christopher Flake: Yeah. Michael Stanley: exactly, yeah. Jason Frank: Mm. Curtis Vaughan: Okay. Michael Stanley: 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. Christopher Flake: Oh. Michael Stanley: Uh sorry, clothes, shoes and Curtis Vaughan: Uh-huh. Michael Stanley: furniture and uh a spongy material to be used on the on the outside. Curtis Vaughan: Mm I hadn't thought of that, that's different, certainly. Jason Frank: Mm. Michael Stanley: Yeah. But uh I was gonna say um yeah, fruit Curtis Vaughan: What? Michael Stanley: 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. Curtis Vaughan: Yeah. Jason Frank: Mm-hmm. Michael Stanley: But fashions do don't last very long. Jason Frank: Well that can kinda tie into our changing uh face things, like we could have Michael Stanley: Mm. Jason Frank: the fruit and vegetable theme this year Michael Stanley: Yeah. Jason Frank: and uh Christopher Flake: Yeah. Jason Frank: whatever happens next year, we can have the Michael Stanley: Yeah, we can Jason Frank: face Michael Stanley: have a Jason Frank: plates, Michael Stanley: sp Jason Frank: yeah. Michael Stanley: like a spongy skin on it and then we Jason Frank: Yeah, Michael Stanley: can just Curtis Vaughan: Uh. Michael Stanley: whip that off and Jason Frank: yeah. Christopher Flake: Yeah like the kind you get on like hand weights. You know, that Jason Frank: Mm, Christopher Flake: kind of spongy Jason Frank: yeah, that weird I dunno what that is, Curtis Vaughan: Uh. Jason Frank: but Christopher Flake: yeah. Jason Frank: yeah. Michael Stanley: A kind of yeah. Jason Frank: Mm. Curtis Vaughan: Also Michael Stanley: Oh Curtis Vaughan: means you can drop it without damaging it. Michael Stanley: Yeah. Jason Frank: Uh, Michael Stanley: That's Jason Frank: yeah, Michael Stanley: c Christopher Flake: Yeah, Jason Frank: it's good Michael Stanley: cool. Jason Frank: as well. Christopher Flake: that's true. Jason Frank: Mm-hmm. Michael Stanley: 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 Christopher Flake: Yeah. Michael Stanley: one when new fashions come out. Jason Frank: Mm. Curtis Vaughan: 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 Jason Frank: Mm. Curtis Vaughan: it's just never been seen as a a fashion item before. Michael Stanley: Yeah. Curtis Vaughan: Um that's Christopher Flake: Wh Curtis Vaughan: yes Jason Frank: I Curtis Vaughan: if if if they're made in sufficient quantity Jason Frank: 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. Curtis Vaughan: W I mean we we can uh uh b but I mean my feeling is that Jason Frank: Yeah. Curtis Vaughan: current power sources are such that Jason Frank: Mm. Curtis Vaughan: for relatively little cost you can make it last, you know, a long time. Jason Frank: Yeah. Curtis Vaughan: Um but if we also make it cheap enough that people either change the cover every year or Jason Frank: Mm. Curtis Vaughan: even buy a new one every year then it it's it's even better. Jason Frank: Mm. Christopher Flake: What if we Michael Stanley: Mm-hmm. Christopher Flake: included the batteries in the cover? Jason Frank: Oh yeah. Christopher Flake: So Jason Frank: I like Christopher Flake: um Jason Frank: that. That Christopher Flake: like Jason Frank: all c also kind of encourages 'em to buy new covers and yeah. Christopher Flake: Yeah, so can I see that Jason Frank: Um. Christopher Flake: thing? Curtis Vaughan: S Christopher Flake: Just this Curtis Vaughan: Yeah, Christopher Flake: as examples. Curtis Vaughan: yeah, I n I know the only p Christopher Flake: So Curtis Vaughan: I mean Christopher Flake: f Curtis Vaughan: 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 Jason Frank: Uh yeah. Curtis Vaughan: the advantage of having it plumbed in is that that the whole thing is all, you know, completely soldered together Christopher Flake: Yeah, I Jason Frank: Mm. Christopher Flake: guess that's Curtis Vaughan: and it it it you know, total Christopher Flake: true. Curtis Vaughan: reliability, but I mean I d I I uh I know what you're saying and uh understand Michael Stanley: Or Curtis Vaughan: where you're coming from. Michael Stanley: 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 Jason Frank: Mm-hmm. Michael Stanley: the microphone. And then this is the power source and the bit everyone sees. And then Curtis Vaughan: 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 Michael Stanley: Yeah, Curtis Vaughan: getting Michael Stanley: you probably Curtis Vaughan: cheaper Michael Stanley: are right. Curtis Vaughan: 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 Jason Frank: Mm. Christopher Flake: Yeah, Curtis Vaughan: um Christopher Flake: that's true. Curtis Vaughan: totally. Jason Frank: Mm. Curtis Vaughan: Um Christopher Flake: Yeah, Curtis Vaughan: then if, Christopher Flake: yeah. Curtis Vaughan: 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 Christopher Flake: Yeah. Curtis Vaughan: um rather than a a complete new Jason Frank: Well Curtis Vaughan: re Jason Frank: that that's Christopher Flake: Yeah. Curtis Vaughan: remote. Jason Frank: 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. Curtis Vaughan: Yeah, I Christopher Flake: Yeah, Curtis Vaughan: mean it Jason Frank: So, Curtis Vaughan: is Christopher Flake: just Curtis Vaughan: it's Christopher Flake: another Curtis Vaughan: up to it's Jason Frank: yeah. Christopher Flake: five Curtis Vaughan: up to Christopher Flake: Euro to get Jason Frank: Yeah. Curtis Vaughan: Yeah, it's it's up to our marketing people Jason Frank: Mm. Curtis Vaughan: to Christopher Flake: Right. Curtis Vaughan: to ma to ma turn it into a a fashion item. Jason Frank: Mm, yeah. Curtis Vaughan: Um and, you know, as as external fashions change, then we get new new covers Jason Frank: Mm. Christopher Flake: Yeah. Curtis Vaughan: on the market and, you know, readily available. And Jason Frank: And that's the Curtis Vaughan: um Jason Frank: sort of thing, once you get the mould set, you can just whip out different colours, different Christopher Flake: Yeah, Jason Frank: pictures Christopher Flake: like they have Jason Frank: very Christopher Flake: for Jason Frank: very Christopher Flake: mobile Jason Frank: quickly. Christopher Flake: phones Curtis Vaughan: that's Jason Frank: Yeah, Curtis Vaughan: that's Christopher Flake: that Jason Frank: yeah, Curtis Vaughan: right, Christopher Flake: are just Jason Frank: exactly, Curtis Vaughan: yeah, Jason Frank: exactly. Curtis Vaughan: yeah. Christopher Flake: fruits and animal prints Jason Frank: Yeah. Christopher Flake: and colours. Yeah, Curtis Vaughan: So Christopher Flake: okay. Curtis Vaughan: uh i so uh okay. Um right, sorry. Um we hadn't finished your Michael Stanley: 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? Curtis Vaughan: It's the sort of thing that we want people to have prominent dis displayed Jason Frank: Mm. Curtis Vaughan: on their Jason Frank: Mm-hmm. Curtis Vaughan: um coffee table to say this says something about Michael Stanley. Um Michael Stanley: Yeah. This is fashionable Curtis Vaughan: this Michael Stanley: with Curtis Vaughan: is fashionable. Jason Frank: Yeah. Curtis Vaughan: 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, Jason Frank: Mm. Curtis Vaughan: 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, Jason Frank: Mm. Curtis Vaughan: you Michael Stanley: Oh Curtis Vaughan: know, Michael Stanley: yeah. Curtis Vaughan: 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. Jason Frank: 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 Curtis Vaughan: Yeah uh Jason Frank: on Christopher Flake: Yeah, Curtis Vaughan: the Jason Frank: it, Christopher Flake: like Curtis Vaughan: the Jason Frank: but I'd Christopher Flake: an. Curtis Vaughan: uh Jason Frank: yellow Curtis Vaughan: or or b Jason Frank: seems a bit of a strong colour Curtis Vaughan: Yeah, Jason Frank: to Curtis Vaughan: I'd Jason Frank: make Curtis Vaughan: I'd Jason Frank: the ent like Curtis Vaughan: um Jason Frank: the thing no, Curtis Vaughan: yeah. Jason Frank: but I mean just Christopher Flake: Yeah. Jason Frank: like Curtis Vaughan: Uh Jason Frank: white Curtis Vaughan: no I Jason Frank: or Curtis Vaughan: d Jason Frank: grey Curtis Vaughan: I I Jason Frank: or Curtis Vaughan: agree, Jason Frank: black Curtis Vaughan: I mean Jason Frank: or some sort Curtis Vaughan: we're Jason Frank: of Curtis Vaughan: we're we're Jason Frank: blah Curtis Vaughan: simply Jason Frank: colour. Curtis Vaughan: it's simply required Jason Frank: Yeah, Curtis Vaughan: to Jason Frank: yeah. Curtis Vaughan: incorporate the Christopher Flake: Yeah. Curtis Vaughan: the the the corporate Jason Frank: Yeah. Curtis Vaughan: logo prominently Jason Frank: Mm. Curtis Vaughan: um. Michael Stanley: And make that a fashion Christopher Flake: Well Michael Stanley: symbol Christopher Flake: n Michael Stanley: as well. Curtis Vaughan: 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 Jason Frank: Mm-hmm. Curtis Vaughan: stuff. Christopher Flake: Well I was sort of mm kinda picturing like maybe um a shape that's almost like a mouse. Jason Frank: Mm. Curtis Vaughan: Yeah. Christopher Flake: So Jason Frank: Yeah. Christopher Flake: 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 Curtis Vaughan: Yeah. Jason Frank: Mm. Curtis Vaughan: Yeah. Christopher Flake: have the power, wherever, somewhere. Jason Frank: Yeah. Christopher Flake: I mean Curtis Vaughan: I mean Christopher Flake: that was Curtis Vaughan: I've Christopher Flake: just Curtis Vaughan: uh Christopher Flake: an Curtis Vaughan: yeah. Christopher Flake: idea that I had. Curtis Vaughan: 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 Christopher Flake: Yeah. Curtis Vaughan: tha that sorta shape so Christopher Flake: Yeah, Curtis Vaughan: that you can Christopher Flake: maybe. Curtis Vaughan: just sort of Jason Frank: Yeah, Curtis Vaughan: ho Jason Frank: you'd want Curtis Vaughan: hold Jason Frank: it Curtis Vaughan: it. Jason Frank: narrower Christopher Flake: Kind Jason Frank: than Christopher Flake: of a Jason Frank: a Christopher Flake: c Jason Frank: mouse though 'cause it a mouse you're kinda just resting on it, you want something you can definitely grip. Curtis Vaughan: W it Jason Frank: So Christopher Flake: Yeah. Curtis Vaughan: I mean Jason Frank: maybe Curtis Vaughan: well Jason Frank: it'd Curtis Vaughan: it's Jason Frank: be Curtis Vaughan: sort of it's it's sort Christopher Flake: Sort Curtis Vaughan: of Christopher Flake: of a combination. Jason Frank: Yeah, Curtis Vaughan: uh a Jason Frank: yeah. Curtis Vaughan: a mouse, but held, Jason Frank: Yeah. Curtis Vaughan: you know, so it's you sorta hold Christopher Flake: Yeah. Curtis Vaughan: it in your hand like that, i Jason Frank: Yeah, Curtis Vaughan: with, Jason Frank: and Curtis Vaughan: you know, Jason Frank: fiddle Curtis Vaughan: and Jason Frank: around Curtis Vaughan: fiddling Jason Frank: with it and press Curtis Vaughan: with the buttons. Jason Frank: it. Christopher Flake: Yeah so yeah, kind of maybe maybe a little wider than this, 'cause this is pretty comfortable to hold, and then if you had Jason Frank: Maybe almost like a hairbrush, like you could get the about the width of that end of the Christopher Flake: Yeah, Jason Frank: pen and then it widens up top Christopher Flake: then wider Jason Frank: and you Christopher Flake: up Jason Frank: can Christopher Flake: here. Jason Frank: fiddle an Christopher Flake: And then Jason Frank: yeah. Christopher Flake: it would have a l uh wider thing Jason Frank: Yeah, Christopher Flake: to uh have Jason Frank: yeah. Christopher Flake: the light, the Jason Frank: Yeah. Christopher Flake: infrared light at the T_V_ and just kinda change channels and adjust Jason Frank: Mm. Christopher Flake: the volume and the power could be wherever, up up the top or something. Jason Frank: Yeah, cool. Christopher Flake: What do you guys think about that? Michael Stanley: Yeah, that sounds Curtis Vaughan: Okay, yeah, yeah. Michael Stanley: 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? Christopher Flake: Oh yeah. Jason Frank: Yeah. Curtis Vaughan: It's a very good point. Christopher Flake: It is Jason Frank: Yeah. Christopher Flake: a very good point. Curtis Vaughan: I think we d I think we decided that w we're actually going down both routes. Jason Frank: Yeah, Christopher Flake: Yeah. Curtis Vaughan: That Jason Frank: yeah. Curtis Vaughan: um the we n we need the the manual controls and that they should be of that form, Christopher Flake: Yeah. Curtis Vaughan: but that uh Jason Frank: But Curtis Vaughan: yeah. Jason Frank: 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 Curtis Vaughan: Then you just Jason Frank: bring it up Curtis Vaughan: bring Jason Frank: like Curtis Vaughan: it up Jason Frank: that Curtis Vaughan: to your mouth Jason Frank: and it's Curtis Vaughan: and just Jason Frank: microphone-esque, Christopher Flake: Yeah, Curtis Vaughan: speak Christopher Flake: say Curtis Vaughan: to it, yeah, Jason Frank: yeah, Curtis Vaughan: yeah. Michael Stanley: Yeah, Jason Frank: yeah. Michael Stanley: maybe we cou like w like we're leaving out the buttons for the the f less frequently used stuff, but maybe we could Jason Frank: Mm. Michael Stanley: incorporate that into the voice. Curtis Vaughan: I th I th honest uh my personal view is that if it's not there, people wouldn't use it anyway Michael Stanley: Mm I suppose, but Curtis Vaughan: um. Michael Stanley: t there is the off chance that, you know, th the brightness is wrong on your T_V_ or the contrast needs changing. Curtis Vaughan: It's cer it's certainly possible I mean, but they Jason Frank: Bu Curtis Vaughan: we we're going beyond Jason Frank: Mm. Curtis Vaughan: w w given the state of the technology we want something that we kno we know will will work Michael Stanley: Hmm yeah. Curtis Vaughan: um. Jason Frank: 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 Curtis Vaughan: Uh Jason Frank: also be to scroll through other options like y and you could scroll Michael Stanley: Yeah, Jason Frank: through brightness Michael Stanley: that's a good idea. Jason Frank: and Christopher Flake: Yeah, Jason Frank: and Christopher Flake: I suppose Jason Frank: sc and then you Christopher Flake: I sup Jason Frank: can you can minimise the buttons and still have Curtis Vaughan: Yeah. Jason Frank: those, you know, brightness Michael Stanley: Yeah. Jason Frank: and tint and stuff. Curtis Vaughan: If we we're I mean I'm getting a clear message that we think that we should have those facilities available. Christopher Flake: So I guess we could have a Jason Frank: Yeah Christopher Flake: menu button as well. We could have the channels and the power and then a menu button Jason Frank: Yeah. Christopher Flake: and then the volume. So have four buttons and the volume instead of three buttons and the volume. Curtis Vaughan: Uh uh uh Okay, if we if we're going down that route, then we need some sort of display. Do we Jason Frank: But Curtis Vaughan: need Jason Frank: the Curtis Vaughan: some Jason Frank: television Curtis Vaughan: sort of display? Christopher Flake: Yeah, Jason Frank: would be Christopher Flake: that's Curtis Vaughan: We Jason Frank: the display Curtis Vaughan: actually Christopher Flake: on the Jason Frank: that Curtis Vaughan: use Christopher Flake: T_V_, Curtis Vaughan: the television, Jason Frank: things Christopher Flake: yeah. Jason Frank: like that usually c pop Curtis Vaughan: okay. Jason Frank: up on a televi Christopher Flake: Yeah, and Jason Frank: like Christopher Flake: then Jason Frank: you hit Christopher Flake: y Jason Frank: menu Curtis Vaughan: Okay, Jason Frank: and menu will come up on television Curtis Vaughan: okay, Jason Frank: and have like tint brightness, Curtis Vaughan: okay. Jason Frank: and you'd use the scroll, Michael Stanley: Well Jason Frank: scroll through it Michael Stanley: I Jason Frank: yeah. Michael Stanley: mean on a Curtis Vaughan: Yep. Michael Stanley: as well, you could press it, Jason Frank: Yeah, Michael Stanley: you could press that Christopher Flake: Yeah, Jason Frank: yeah, Michael Stanley: and have Jason Frank: that's Michael Stanley: it as Jason Frank: true. Michael Stanley: a menu Christopher Flake: press Michael Stanley: button. Christopher Flake: that is t yeah, that Jason Frank: I Christopher Flake: might Jason Frank: never Christopher Flake: work. Jason Frank: understood how that worked though, but yeah. Christopher Flake: Yeah, it's like um yeah, it's like the mouse Jason Frank: Yeah, Christopher Flake: where you just kinda click it. Jason Frank: mm. Christopher Flake: 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 Jason Frank: Mm, Christopher Flake: click it Jason Frank: oka Christopher Flake: to select. Jason Frank: yeah. Yeah. Michael Stanley: Uh yeah. Christopher Flake: You know what I mean? Curtis Vaughan: Mm yeah. Okay, we got five minutes to go in this Christopher Flake: Okay. Curtis Vaughan: meeting, so um I d I think we've actually very conveniently just uh come to uh a good point to s to Jason Frank: Cool. Curtis Vaughan: sum up um. So um b b Kate and Kendra now go away and uh Jason Frank: Play with Curtis Vaughan: pa play Jason Frank: play-dough. Curtis Vaughan: play with a bit of Plasticine or play-dough, whatever it is on the other side of the Atlantic. Michael Stanley: Hmm. Curtis Vaughan: 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. Michael Stanley: Uh can I just get some things clear just for Curtis Vaughan: Yeah, Michael Stanley: my Curtis Vaughan: certainly, Michael Stanley: sake. Curtis Vaughan: of course. Michael Stanley: Our energy source is gonna be Curtis Vaughan: I Michael Stanley: long Curtis Vaughan: think Michael Stanley: term. Curtis Vaughan: 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 Jason Frank: Mm. Curtis Vaughan: battery source Michael Stanley: Cool. Curtis Vaughan: um, Michael Stanley: Uh Curtis Vaughan: 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 Jason Frank: Yeah. Curtis Vaughan: and that we'll w we will guarantee it for for five years um. Michael Stanley: And we're having a custom chip? Curtis Vaughan: 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. Michael Stanley: And interchangeable case? Curtis Vaughan: I i interchangeable case seems to be um Jason Frank: Mm. Curtis Vaughan: um important to the concept. Um it it should be cheap, you know, if if Jason Frank: Mm. Curtis Vaughan: we avoid any, Christopher Flake: Yeah. Curtis Vaughan: 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 Michael Stanley: Mm, mm-hmm. Curtis Vaughan: 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. Michael Stanley: And uh are we gonna have it il being illuminated from inside onto the buttons or Curtis Vaughan: Um the that I mean that's no, because we've got so few buttons that it that actually makes that redundant. Christopher Flake: Yeah, Jason Frank: Mm, does actually, Michael Stanley: Cool. Christopher Flake: I think Jason Frank: yeah, Christopher Flake: so too. Yeah, and Jason Frank: yeah. Christopher Flake: especially for making them so like Jason Frank: Mm Christopher Flake: different Jason Frank: different Curtis Vaughan: Yeah, Christopher Flake: and Jason Frank: to feel, Curtis Vaughan: yeah. Jason Frank: yeah, yeah. Christopher Flake: Yeah. Curtis Vaughan: And the you know, that that solves one of the problems of b of battery life, Jason Frank: Mm-hmm. Curtis Vaughan: 'cause that Christopher Flake: Yeah. Curtis Vaughan: would Jason Frank: Yep, Curtis Vaughan: well that would clobber Jason Frank: yeah. Curtis Vaughan: the battery life, so Jason Frank: Mm-hmm. Curtis Vaughan: no, I mean Christopher Flake: Yeah. Curtis Vaughan: given the nature of the buttons we're having, it's actually uh uh unnecessary I think. Christopher Flake: Yeah. Jason Frank: Mm-hmm. Michael Stanley: Are we having it that it's any angle, or is it just Curtis Vaughan: As uh as wide Jason Frank: Yeah. Michael Stanley: As wide Curtis Vaughan: cer Michael Stanley: as possible. Curtis Vaughan: certainly wider angle than than current, so that if you're holding it, you know, anyway Christopher Flake: Like Jason Frank: Mm Curtis Vaughan: like Christopher Flake: this Curtis Vaughan: you're likely Christopher Flake: or like Curtis Vaughan: to Christopher Flake: this. Jason Frank: yeah. Curtis Vaughan: 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 Christopher Flake: Yeah, Curtis Vaughan: the Jason Frank: Mm-hmm. Christopher Flake: kinda Curtis Vaughan: uh Christopher Flake: like this Curtis Vaughan: the Christopher Flake: whole Curtis Vaughan: infrared uh. Jason Frank: Yeah, mm. Christopher Flake: So Curtis Vaughan: Um Christopher Flake: you could use Curtis Vaughan: so Christopher Flake: like this and it would go. Jason Frank: Mm. Curtis Vaughan: 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 Christopher Flake: Yeah. Curtis Vaughan: they're holding it anyway, the they're reasonably likely to be holding it to use it, then uh Christopher Flake: Yeah. Curtis Vaughan: then that that's the sort of coverage that we want. Um okay, d we're all clear Jason Frank: Yep, Christopher Flake: Yep. Jason Frank: sounds good. Curtis Vaughan: where we go from here. Michael Stanley: Mm-hmm. Curtis Vaughan: Okay, so thank you very much indeed Jason Frank: 'Kay. Curtis Vaughan: and I'll s see you all again in thirty minutes. Christopher Flake: Okay. Jason Frank: 'Kay.

Curtis Vaughan 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 Jason Frank 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. Michael Stanley 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.

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Perry Koenig: 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. Louis Mcdowell: 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 Perry Koenig: Uh-huh. Louis Mcdowell: 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, Perry Koenig: Yep, Louis Mcdowell: or if you hold it up Perry Koenig: yeah, Louis Mcdowell: like that it'll send Perry Koenig: good, Louis Mcdowell: it. Perry Koenig: good. Louis Mcdowell: Uh we got a microphone there which for all the voice commands so you can Perry Koenig: Uh-huh. Louis Mcdowell: you know talk to it like that and it'll still Perry Koenig: Yep, Louis Mcdowell: understand. Perry Koenig: right. Louis Mcdowell: Um the logo is down down there Perry Koenig: Uh-huh. Henry Johnson: Mm. Louis Mcdowell: um Henry Johnson: S Louis Mcdowell: 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 Perry Koenig: Yep, Louis Mcdowell: and then there's holes Perry Koenig: yep, Louis Mcdowell: for the buttons to Perry Koenig: mm-hmm. Louis Mcdowell: come through. Um. Henry Johnson: And so we figured it be of you know light, just Louis Mcdowell: Mm. Henry Johnson: kind Perry Koenig: Uh-huh. Henry Johnson: of a light Perry Koenig: Yep yep. Henry Johnson: non-descript grey so that people'll wanna buy the covers Perry Koenig: Yep. Henry Johnson: and then the covers will be that sort of rubbery material like they make iPod covers, so they kinda just stretch over. Louis Mcdowell: Mm. Perry Koenig: showing John Pierce age, I don't know what i c iPod covers are like. Henry Johnson: Yeah, well I Perry Koenig: Yeah Henry Johnson: I didn't know that but Perry Koenig: yeah. Henry Johnson: yeah they're kind of it's just kind of a rubbery Perry Koenig: Uh-huh. Henry Johnson: and that way Louis Mcdowell: Yeah. Henry Johnson: you know spongy Perry Koenig: Okay, Henry Johnson: like is something that people Perry Koenig: yep, Henry Johnson: wanted Perry Koenig: right. Henry Johnson: and it just sort of stretches over and Louis Mcdowell: Mm-hmm. Henry Johnson: that way I think probably helps protect it a little bit too as well Louis Mcdowell: But Henry Johnson: and Louis Mcdowell: it's also Perry Koenig: Okay. Louis Mcdowell: 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 Perry Koenig: Yep. Louis Mcdowell: able Henry Johnson: just Louis Mcdowell: to stretch Henry Johnson: kinda Louis Mcdowell: it over Henry Johnson: stretch it Louis Mcdowell: yourself Henry Johnson: over Louis Mcdowell: and it'll be fine. Perry Koenig: Okay, Henry Johnson: and Louis Mcdowell: Yeah. Perry Koenig: good Henry Johnson: it'll just stay Perry Koenig: yeah. Henry Johnson: on and then the Louis Mcdowell: Yeah. Henry Johnson: buttons come through and so and then the each one of 'em on the very end will have the logo with the yellow Perry Koenig: Yep, Henry Johnson: circle Perry Koenig: right. Henry Johnson: and the R_R_. Louis Mcdowell: Li that'll be the covers as well, Henry Johnson: Yeah. Perry Koenig: Yeah, Louis Mcdowell: yeah Perry Koenig: yeah. Louis Mcdowell: yeah. Perry Koenig: I mean tha it's it's a detailed point, I just wondered I mean h how will people put these down I wonder? Henry Johnson: Like that. Perry Koenig: Right. Okay for some strange re reason I had it in my mind that they'd put them Louis Mcdowell: Yeah Perry Koenig: down Louis Mcdowell: it could Perry Koenig: vertically Louis Mcdowell: stand, Perry Koenig: but Louis Mcdowell: yeah. Perry Koenig: uh Henry Johnson: Oh. Perry Koenig: uh Louis Mcdowell: Well we could broaden the broaden it out a bit so it would stand Perry Koenig: Yeah, Louis Mcdowell: like Perry Koenig: uh no Louis Mcdowell: that. Perry Koenig: because particularly if they've dif if they're gonna have it as a you know as a fashion item Louis Mcdowell: Yeah, Perry Koenig: uh Louis Mcdowell: standing. Perry Koenig: 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 Louis Mcdowell: Yeah, Perry Koenig: and Louis Mcdowell: we could Perry Koenig: uh Louis Mcdowell: just widen it out uh Perry Koenig: Yeah and uh it just needs another uh another logo somewhere is is is is all it gives gives people the option Louis Mcdowell: Mm. Perry Koenig: and if if say if they've got them Louis Mcdowell: Mm. Perry Koenig: um because actually have several upon the uh John Pierce: Could have one for your Louis Mcdowell: Mm, John Pierce: stereo, one Perry Koenig: Yeah, Louis Mcdowell: yeah, Henry Johnson: Yeah. Louis Mcdowell: yeah. Perry Koenig: well. John Pierce: your D_V_ Louis Mcdowell: Have John Pierce: player. Louis Mcdowell: to if we just lengthen Henry Johnson: Yeah, Louis Mcdowell: it I guess so it comes Perry Koenig: Yeah Henry Johnson: just Louis Mcdowell: down Henry Johnson: kind Louis Mcdowell: to the Perry Koenig: but Louis Mcdowell: base Perry Koenig: that Henry Johnson: of Louis Mcdowell: of Perry Koenig: that's Louis Mcdowell: the hand and then Perry Koenig: uh Louis Mcdowell: flatten Perry Koenig: but Louis Mcdowell: it out Perry Koenig: uh Louis Mcdowell: and Perry Koenig: no Louis Mcdowell: could Perry Koenig: the Louis Mcdowell: sit there. Perry Koenig: the the overall Henry Johnson: Or Perry Koenig: uh Henry Johnson: just make Louis Mcdowell: Yeah, Henry Johnson: it little. Perry Koenig: the Louis Mcdowell: mm. Perry Koenig: overall concept is uh Henry Johnson: Somewhere Louis Mcdowell: Yeah. Henry Johnson: like that Perry Koenig: yeah yeah, Louis Mcdowell: Yeah. Perry Koenig: no no, I mean that's Henry Johnson: so it just Perry Koenig: these Henry Johnson: sort Perry Koenig: uh Henry Johnson: of Louis Mcdowell: We might John Pierce: Yeah I kinda Louis Mcdowell: have to John Pierce: had Louis Mcdowell: lengthen John Pierce: a Louis Mcdowell: it so it kinda your John Pierce: a kinda Louis Mcdowell: hand still John Pierce: a natural Louis Mcdowell: holds it and have John Pierce: kind Henry Johnson: Yeah. Louis Mcdowell: it John Pierce: of Louis Mcdowell: there, John Pierce: a idea where Louis Mcdowell: yeah, John Pierce: it's like Louis Mcdowell: yeah, yeah John Pierce: more Louis Mcdowell: like John Pierce: of Louis Mcdowell: that, John Pierce: a kind Louis Mcdowell: like John Pierce: of Louis Mcdowell: that. John Pierce: like Louis Mcdowell: Yeah. Henry Johnson: Bu John Pierce: a kinda maybe slightly like thinner, yeah, kinda Perry Koenig: Yeah. John Pierce: like that kinda like a flower Perry Koenig: But uh John Pierce: or a plant Perry Koenig: yeah Louis Mcdowell: Mm. John Pierce: for Perry Koenig: but John Pierce: the more Perry Koenig: no John Pierce: natural Perry Koenig: th but John Pierce: kinda Perry Koenig: the yeah the the the Yeah, yeah, yeah, I mean it it's uh Henry Johnson: fall Perry Koenig: wouldn't Louis Mcdowell: The final Henry Johnson: over. Louis Mcdowell: product Perry Koenig: wouldn't do Louis Mcdowell: would Perry Koenig: that, Louis Mcdowell: actually Perry Koenig: indeed Louis Mcdowell: stand Perry Koenig: yeah. Louis Mcdowell: up, yeah. Henry Johnson: Yeah. Perry Koenig: But th th but th yeah th b the these were all minor minor Louis Mcdowell: Yeah, Henry Johnson: Yeah. Perry Koenig: uh minor Louis Mcdowell: yeah. Perry Koenig: details, I think the uh the basic Louis Mcdowell: Yeah. Perry Koenig: concept Henry Johnson: 'S a little Perry Koenig: i i Henry Johnson: longer. Perry Koenig: is is absolutely bang on Louis Mcdowell: Wee Perry Koenig: and the i it certainly meets our criteria of being uh Louis Mcdowell: Mm. Perry Koenig: of you know looking different. Henry Johnson: Yeah. Perry Koenig: 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. John Pierce: Uh yeah, just click there. Uh the the maximise button. Perry Koenig: 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 Louis Mcdowell: Mm. Perry Koenig: 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 Perry Koenig: they have to accept that we we can't operate absolutely Louis Mcdowell: Mm. Perry Koenig: 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 John Pierce: Evaluation. Perry Koenig: yeah the evaluation where where you know well where where we're where where we're at? John Pierce: The the product or the project? Perry Koenig: The the the well the I meant the product. John Pierce: Um, well well my presentation just now Perry Koenig: Yeah. John Pierce: Sure? uh can I get the Perry Koenig: Oh sorry yeah um, mm. John Pierce: Cheers. Perry Koenig: Mm. More loud clicks in the microphone. John Pierce: 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. Perry Koenig: Seven being a nice round number to work to. John Pierce: Yeah. And then at the end just take an average Perry Koenig: Tr On for true and seven for flase. John Pierce: Yes. Perry Koenig: Yes. John Pierce: So uh. John Pierce: So, look at these questions. Is the device f flashy and fashionable? Perry Koenig: Well I think most Louis Mcdowell: Yeah Henry Johnson: I Perry Koenig: definitely. Henry Johnson: think Louis Mcdowell: I'd Henry Johnson: it Louis Mcdowell: say Henry Johnson: is yeah. Louis Mcdowell: definitely a one yeah. John Pierce: So uh and also uh technologically innovative? Perry Koenig: Yes Louis Mcdowell: Yeah, Perry Koenig: the Henry Johnson: Yeah. Perry Koenig: voice technology Louis Mcdowell: defi yeah, Perry Koenig: indeed. Louis Mcdowell: yeah John Pierce: Easy to use? Perry Koenig: I don't see Henry Johnson: Yeah. Perry Koenig: we could've Louis Mcdowell: Yeah. Perry Koenig: made it any easier. John Pierce: Uh suitable for the consumer? That was um Perry Koenig: Totally. Louis Mcdowell: Yeah definitely. Henry Johnson: Yeah I think it made we met all of the consumer Louis Mcdowell: Yeah. John Pierce: Yeah. Henry Johnson: wants. John Pierce: Uh is it complicated? Perry Koenig: No. Henry Johnson: No. John Pierce: Doing pretty well so far aren't we? Uh functional? Perry Koenig: Yeah. Louis Mcdowell: Yeah Henry Johnson: Yeah. Louis Mcdowell: definitely. John Pierce: Um. Where are we? Perry Koenig: found easily. John Pierce: We've b Perry Koenig: yeah I mean John Pierce: built in the Louis Mcdowell: Yeah. John Pierce: the speech, Perry Koenig: that's John Pierce: where Perry Koenig: that's John Pierce: are Louis Mcdowell: Yeah. John Pierce: you, Louis Mcdowell: Yeah, John Pierce: function. Henry Johnson: Yeah. Perry Koenig: Yeah. Louis Mcdowell: mm-hmm. John Pierce: Uh-huh. Perry Koenig: Does it take long to learn to use? Shouldn't. Louis Mcdowell: No, not at John Pierce: Mm-hmm. Louis Mcdowell: all. John Pierce: And uh, what else? The R_S_I_ compares to the current standards, well. Perry Koenig: Less buttons Louis Mcdowell: Uh Perry Koenig: so it must be. John Pierce: We we uh yeah it Louis Mcdowell: Yeah John Pierce: was our it was a we made Louis Mcdowell: it John Pierce: an Louis Mcdowell: is John Pierce: actual effort Louis Mcdowell: sorta John Pierce: to Louis Mcdowell: the the handle more ergonomically correct as well. Henry Johnson: Yeah. Perry Koenig: So yeah, Louis Mcdowell: yeah. Perry Koenig: um um. John Pierce: Um will device appeal to all age groups? Perry Koenig: I think it will Louis Mcdowell: Mm. Perry Koenig: because Henry Johnson: I think so. Perry Koenig: I mean uh old older people who can't manage the buttons anyway will actually probably John Pierce: Yeah, Perry Koenig: like the like John Pierce: uh Louis Mcdowell: Mm. John Pierce: that's a good call, yeah. Perry Koenig: like the voice bit John Pierce: Well Perry Koenig: so John Pierce: 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. Louis Mcdowell: Mm. Perry Koenig: And it's it's it's well I don't think we're actually charging a particular premium anyway, in Louis Mcdowell: I Perry Koenig: the John Pierce: Mm. Perry Koenig: end, Louis Mcdowell: I I think Perry Koenig: so Louis Mcdowell: it Henry Johnson: Yeah. Louis Mcdowell: will tend to appeal more to younger aged groups just 'cause we have gone with the fashion Perry Koenig: Yeah. Louis Mcdowell: focus and the younger Perry Koenig: Yeah. Louis Mcdowell: people tend to would be more conscious of that aspect of it, but um I think it should still appeal on a certain level Perry Koenig: It will appeal Louis Mcdowell: to everybody, Perry Koenig: f for dif for Louis Mcdowell: yeah. Perry Koenig: different reasons Henry Johnson: Yeah Louis Mcdowell: Yeah, Henry Johnson: I Perry Koenig: but Henry Johnson: think Perry Koenig: it's Louis Mcdowell: yeah. Henry Johnson: just Perry Koenig: it's Henry Johnson: the Perry Koenig: uh Henry Johnson: simplicity of Louis Mcdowell: Yeah, Henry Johnson: it Perry Koenig: yeah Louis Mcdowell: yeah. Henry Johnson: and Perry Koenig: yeah so I I yeah I Henry Johnson: not having to learn to programme and not having you Perry Koenig: Yeah, Henry Johnson: know a Perry Koenig: so Henry Johnson: million buttons. Louis Mcdowell: Yeah. Perry Koenig: I think we can reasonably say it's another Louis Mcdowell: Mm. Perry Koenig: another one, why not? John Pierce: Uh can you just click the my mouse to move onto next page? Uh, yeah and what h did we make the management's Perry Koenig: in in in in my interpretation of management's instructions uh is that yes it it meets the requirement is t it's television Louis Mcdowell: Yep. Perry Koenig: only, it's Louis Mcdowell: Mm-hmm. Perry Koenig: it's simple to use, um it's Henry Johnson: Under Perry Koenig: it's Henry Johnson: the cost. Perry Koenig: it's within Louis Mcdowell: Mm-hmm. Perry Koenig: budget, Louis Mcdowell: Yep. Perry Koenig: um I it's uh yes an an any minor points we we we argue. John Pierce: Um. Perry Koenig: So uh I I think we've Louis Mcdowell: Yep. Perry Koenig: done an amazing job in uh John Pierce: Okay. Louis Mcdowell: Well done us. Perry Koenig: coming up with what John Pierce: So uh one two three four five six seven eight nine ten eleven. Eleven divided by eleven's one so Henry Johnson: Yeah, John Pierce: equals average of one. Perry Koenig: Need a need a calculator for that. John Pierce: And that roughly concludes my evaluation of the Louis Mcdowell: Excellent. Perry Koenig: Okay, John Pierce: of the product. Perry Koenig: nick Henry Johnson: I Perry Koenig: the Henry Johnson: mixed Perry Koenig: cable Henry Johnson: up the colours Perry Koenig: back Louis Mcdowell: Oh Perry Koenig: then. Louis Mcdowell: no Henry Johnson: a little bit. Louis Mcdowell: that's Henry Johnson: I think I all Perry Koenig: Ooh. Henry Johnson: wrong. Perry Koenig: Right do um either of you want to uh say anything? Louis Mcdowell: Uh. Perry Koenig: Mm. Henry Johnson: Mm. Perry Koenig: Before I uh Henry Johnson: Ps I don't think so, I mean Perry Koenig: No. Henry Johnson: I think we worked well together and Perry Koenig: Yeah. Henry Johnson: looked really at what the consumers wanted and what we Perry Koenig: Yeah. Henry Johnson: were trying to make and you know, seemed to discuss things pretty well and Louis Mcdowell: Mm-hmm. Henry Johnson: come to group consensus and Perry Koenig: Well that's right, I mean th this this slide here I mean the satisfaction with uh room for creativity, Louis Mcdowell: Mm. Perry Koenig: I mean I think Louis Mcdowell: Yeah, Perry Koenig: we've allowed Louis Mcdowell: definitely. Perry Koenig: ourselves uh as much creativity as the uh the the the product Henry Johnson: Yeah. Perry Koenig: uh allows. Um I won't comment on leadership, uh teamwork I think we've uh I think everybody's uh Louis Mcdowell: Mm-hmm. Perry Koenig: worked pretty well together. Um we've just about coped with the whiteboard and digital pens, uh I think the results speak Louis Mcdowell: Mm. Perry Koenig: for itself and new ideas found, um, again gi no given relatively everyday product, Henry Johnson: Yeah. Perry Koenig: I think Louis Mcdowell: Yep. Perry Koenig: 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 Louis Mcdowell: Yep. Perry Koenig: we're all happy that it it meets all the criteria, um Thank you very much indeed, Louis Mcdowell: Cool, Perry Koenig: I think Louis Mcdowell: thank Henry Johnson: Alright. Louis Mcdowell: you, Perry Koenig: that I think that's uh Henry Johnson: Yeah. Perry Koenig: I think we can go f for an early bath. So I call the meeting closed. Henry Johnson: Okay. Perry Koenig: Not sure how far ahead of schedule we were there.

Perry Koenig opens the meeting by stating the agenda. Then Louis Mcdowell 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 John Pierce 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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Kevin Seeley: Right, so start of the first meeting Jonathan Oreilly: Mm-hmm. Kevin Seeley: Uh. Right, so agenda of the first meeting. Where we uh We have twenty five minutes for this meeting. Mark Hart: Okay. Kevin Seeley: We uh are to get acquainted. So does everyone want to say who they are? that seem Jonathan Oreilly: Yeah. Kevin Seeley: sensible? Jonathan Oreilly: I'm Robin. I'm the Marketing. Jacob Ashmore: I'm Louisa. I'm Jacob Ashmore. Mark Hart: I'm Nick. I am the Designer Kevin Seeley: And I'm Alastair and I'm the project leader. Alright okay, so tool training. Um. Project plan. So does anyone have any uh thoughts as to the tool training that uh is required? Mark Hart: Tool training. Jacob Ashmore: I'm not exactly sure what you mean by tool training. Kevin Seeley: am I. Oh I see, so we shouldn't really be Kevin Seeley: Oh right okay, so. So we have the project team, which is to um basically to come up with a new r remote control device. Uh we have uh the starting base was the original which has been in existence now for a period of time. And uh our idea is to uh to make the new remote control device uh more user friendly than the previous one, and to to be trendier, to be with it, and therefore to uh Mark Hart: Yeah. Kevin Seeley: to get a bigger market share and bigger audience. So um method of doing this is uh split up as you can see into uh the functional design, the conceptional design, and the detailed design. So um in each of these uh phases we'll uh basically be handing over to yourselves, the Mark Hart: Yes. Kevin Seeley: designers of this uh this device. And uh having uh meetings so that we can uh during the course of the day um come up with a better better inst implement than we had before. And therefore um have a successful uh conclusion to the day. Um and you'll be doing uh various designs uh throughout Jonathan Oreilly: Mm-hmm, Kevin Seeley: the day Jonathan Oreilly: okay. Kevin Seeley: to meet this end. So we've got tool training. Try out whiteboard. Uh. So we will um. Right so everyone's to uh supposedly uh draw their favourite animal over on the white board over there. I guess this is uh make sure the whiteboard works. So Mark Hart: Okay. Kevin Seeley: uh I don't know who wishes to go first. Do Jacob Ashmore: I Kevin Seeley: you wish Jacob Ashmore: don't Jonathan Oreilly: I dunno. Kevin Seeley: to Jacob Ashmore: mind. Kevin Seeley: go f Have a first bash at uh whatever. Jacob Ashmore: Um. Kevin Seeley: Ah Jacob Ashmore: Let's Kevin Seeley: uh. Jacob Ashmore: see. Good job I got pockets today. Jonathan Oreilly: Your microphone's Kevin Seeley: But now you you Jonathan Oreilly: just Kevin Seeley: uh you'll move out from the microphone and the camera. I Jacob Ashmore: Are we Kevin Seeley: take Jacob Ashmore: supposed Kevin Seeley: it that Jacob Ashmore: to do this right now, do you think, or? Kevin Seeley: I would I would guess so. Or Jonathan Oreilly: Yeah. Mark Hart: You've lost Jonathan Oreilly: I don't Mark Hart: uh Jonathan Oreilly: know. Mark Hart: your microphone there. Jacob Ashmore: Oh. Right Kevin Seeley: Technical problems. Jacob Ashmore: here we go. Kevin Seeley: I mean you designers are meant to come up with these sort of things. Jacob Ashmore: Okay. I think that I would have to say that my favourite animal is the cat. Little smiley cat there. Um and this would be because they're very independent, compared to dogs maybe. Um and they can be very very affectionate. Some people don't think so but I know very affectionate cats. Um. Um and they can look after themselves. Kevin Seeley: Next. Mark Hart: Okay, yeah. I'll Jacob Ashmore: Shall I rub Mark Hart: I'll Jacob Ashmore: that out, actually? Kevin Seeley: I don't see as there's any need to. There's plenty of space. I mean whatever. Jonathan Oreilly: We can have have a whole menagerie. Kevin Seeley: Exactly. Mark Hart: Shall I see if I can get across without just tangling everything. Okay. There's Kevin Seeley: We've Mark Hart: one. Kevin Seeley: had more time to prepare over this side, so we've all stuck our bits and pieces in our pockets. Mark Hart: Didn't think of that. 'Kay uh Kevin Seeley: The three Mark Hart: pens Kevin Seeley: pens Mark Hart: are Kevin Seeley: are Mark Hart: over here. Kevin Seeley: underneath. Mark Hart: I'll try the red pen. Okay. Um. I'm gonna go for the bear but I'll have a bash at it. Kevin Seeley: You get marks Mark Hart: Uh. Kevin Seeley: for artistic impression. Mark Hart: Ooh ooh I lost it there. I think I've just knocked the microphone. Um. Kevin Seeley: So you're just doing the face. Mark Hart: We'll g then we'll go for a a s small small bear. Um and I like my animal that looks nothing like a bear because um I dunno maybe because there's so many cartoon characters made up after the bear like the jungle book characters and stuff like that. Great. Jonathan Oreilly: Right. Jonathan Oreilly: Hello. Um I'm gonna go for the dog, and I'm gonna draw one badly as well. Uh. Jonathan Oreilly: looks like it's going to be a dachshund or something. Jacob Ashmore: That's quite good. Jonathan Oreilly: Right. There's my dog. And they're always happy, so whenever whenever you're feeling sort of a bit a bit down or tired, they're always coming up and they're always um quite excited. So um you can always have a lot of fun with a dog. And they're also good for exercise as well. You can sorta get out and they they sorta never get tired. And and when they're tired they're quite cute as well, so. Okay, that's why I like dogs. Kevin Seeley: Right, um. Well I've not actually had too many pets uh over my uh time 'cause to be honest with you uh I'm not too keen on them anyway. Not to worry. So what my daughters have got at the moment is they've got uh a few fish and so hopefully um won't prove too difficult to draw. Uh Kevin Seeley: As you can see that my artist artistic work is useless as well. Anyway um. And uh one of the best uh things about fish is that they don't really take uh too much looking after because uh with most of the animals if you're going away on holiday or whatever, you've gotta spend money or get a friend or whatever to look after them for you. Whereas if you got fish, you just gotta put the food in a a a dripper feed which feeds them over the uh couple of weeks that you're away and uh change the water every couple of months, and buy in a few plants, so. Other than the fact that they keep dying, uh fish are uh are not are are are reasonable pets in that uh they're low maintenance. Jonathan Oreilly: Great. Kevin Seeley: Right. Okay, uh if we're still all with us. Right okay, so. Work has been done on uh this uh project where by um twenty five Euros is uh the uh expected uh selling price. Jonathan Oreilly: Mm-hmm. Kevin Seeley: That information has come from our marketing manager here. Jonathan Oreilly: Yeah. Kevin Seeley: So we're looking to sell internationally, not just in Europe. We're looking at um having our production costs limited to uh twelve and an half Euro per unit. And therefore making a profit margin of uh well not actually a profit margin it's uh because obviously you're gonna have overheads and various other costs to uh take uh from uh from that to give you your profit margin per unit. And so depending what the uh the overhead uh costs are will determine uh how many units we're uh looking to sell or projecting to sell at this point in time. So um Experience with remote control, first ideas. New remote. So I guess we're looking at um having a discussion at this point in time to help uh you um folks design our our new Mark Hart: Yes. Kevin Seeley: model as it were. So uh any any thoughts? Mark Hart: Um I with some remote controls the buttons were a little small so they're quite hard to press so maybe we make something with uh easy to press buttons. As that is the main function. Kevin Seeley: Okay, so so basically we're looking for some um we're looking for a device that is um robust Mark Hart: Yes. Kevin Seeley: and and therefore uh won't get damaged too easily. a device that is uh What was the other things you said there? Mark Hart: Um sort of easy to use so the Kevin Seeley: Easy Mark Hart: buttons Kevin Seeley: to use. Mark Hart: are accessible. Kevin Seeley: Use. Mark Hart: is easy to use and see. Kevin Seeley: And see. Mark Hart: Yes. Kevin Seeley: Okay. Uh. Jacob Ashmore: Can I just check? Is this just a television remote? Because a lot of um systems are kind of T_V_ video combined now, or T_V_ D_V_D_ combined. And Kevin Seeley: Mm-hmm. Jacob Ashmore: one of the most annoying things is having like five remotes in the house. So if you've got a combined system, it could be a combined remote. Jonathan Oreilly: Mm. Jacob Ashmore: Or is it just a television that we're supposed to be doing? Kevin Seeley: Oh I w um basically I'll get back to you on that. But it seems to Jonathan Oreilly sensible, 'cause as you rightly said, there's nothing more annoying than having three or four devices littered about the uh Jonathan Oreilly: Yeah. Kevin Seeley: about the room. And uh So a device for for all remotes. Jonathan Oreilly: I've Mark Hart: Sorry, you go. You Jonathan Oreilly: Okay. Mark Hart: go. Jonathan Oreilly: Yeah. Um one of the things um we found from the market research is that people often get confused by the number of buttons on them as well. 'Cause there's quite often lots and lots. And um sometimes uh they sort of remote controls defeat their own purpose because you're sat in the chair and the remote is somewhere else in the room. So whereas in the past you'd have to get up to change the channel, now you have to get up to sort of pick up the remote. So so I don't we need to sort of maybe think about how um we could maybe uh develop a remote control which moves around the room. Kevin Seeley: Hmm. Jacob Ashmore: Comes to your whistle. Jonathan Oreilly: That's that's maybe something for the future when you can talk to your television, but Mark Hart: Yeah. Kevin Seeley: But is it in a sense it's r um mutually exclusive. You can't have both Jonathan Oreilly: Yeah. Kevin Seeley: the th the one device and then have few buttons on it to 'cause you want you want simplicity as well, you want any idiot to be able to use it. Jonathan Oreilly: Yeah. Kevin Seeley: Whilst at the same time you want, as you rightly said, one remote for all. Jonathan Oreilly: Mm-hmm. Kevin Seeley: And so these are probably mutually exclusive options Mark Hart: Yes. Kevin Seeley: that Jonathan Oreilly: Mm-hmm. Kevin Seeley: uh Hmm you could argue that experience of using devices and similar devices as people get more and more used to using remotes, therefore they're more with handling Mark Hart: Yeah. Kevin Seeley: them, therefore you can make them more complicated as time goes on. Mark Hart: Maybe we could um have better instructions with the remote. Or are we just doing the design of the remote control itself, or sort of the instructions that would come with it? Kevin Seeley: Better instructions. Jonathan Oreilly: Yeah. I mean we've done some research um about sort of you know what the cutting edge sort of hand held devices are, and a lot of them sort of use you know they're like they're like mini laptops. Kevin Seeley: Mm-hmm. Jonathan Oreilly: So it's possible that we could devise a system where where you're you're basically sort of holding a a miniature computer which is controlling all your your sort of your television, your stereo, and where you know if you buy a new thing then it sort of you can link it to that as well, maybe. Kevin Seeley: Okay. Um well we've got five minutes before the end of the meeting. So uh we have to uh start winding up. Um is there Next meeting in thirty minutes. Mark Hart: 'Kay. Jonathan Oreilly: Okay. Kevin Seeley: So um Right, so we've got I_D_ the Come on, where's my Jonathan Oreilly: If you just click return it should be okay. It'll get rid of the message. Mark Hart: Or not. Jonathan Oreilly: If you hit just hit return and it should get rid of the message. Kevin Seeley: Oh Jonathan Oreilly: Oh you've Kevin Seeley: there Jonathan Oreilly: got. Kevin Seeley: we go. Yeah. That's what I was looking for. Right. So we've got function Oh what happened to the Jacob Ashmore: I think that might be back to the start. Jonathan Oreilly: Yeah. Jacob Ashmore: Um if you grab the kind of uh slide Mark Hart: slide Jacob Ashmore: to the Mark Hart: four Jacob Ashmore: left and pull it down? Jonathan Oreilly: Yeah. Kevin Seeley: Right. Kevin Seeley: Right. Mark Hart: Okay. Kevin Seeley: Sorry about that. Okay, so we've got um the working design for I_D_. For U_I_D_ the technical functions design. Marketing, the user requirement specification. Specific instructions will be sent to you by your person by your personal coach. So. Are we all clear what objectives we're looking to meet in the next thirty minutes? Jonathan Oreilly: Mm-hmm. Kevin Seeley: And Mark Hart: Yes. Kevin Seeley: I guess I'll try and write up some minutes of uh this meeting to uh to give it to you for the next Mark Hart: 'Kay, Kevin Seeley: meeting. Mark Hart: yes. Jonathan Oreilly: Mm-hmm. Jacob Ashmore: I'm not exactly clear on what we're designing the rem remote for. Is this a mun multi-functional one or do we decide that ourselves as we go away and work on it? Mark Hart: I think you just said at the start it was a television remote control, Kevin Seeley: Television Mark Hart: so maybe we Jacob Ashmore: Right. Kevin Seeley: remote Mark Hart: should just Kevin Seeley: control. Mark Hart: stick to that unless we get told otherwise. Kevin Seeley: That's true, 'cause during during the course of our day we might make decisions based on information or meetings that would change Jonathan Oreilly: Okay Kevin Seeley: where Jonathan Oreilly: cool. Kevin Seeley: we're going. But at this point in time I think you're right that uh shall we make it just a T_V_. Okay? Mark Hart: 'Kay. Kevin Seeley: So we will depart. We will stay here and uh and break off. And I'll do minutes and and we'll see you in half and hour. Mark Hart: Okay, that's great. Jacob Ashmore: Okay. Jonathan Oreilly: Okay Kevin Seeley: Okay. Jonathan Oreilly: cheers. Kevin Seeley: Right s

The group introduced themselves and their roles to each other. Kevin Seeley introduced the project aim and agenda to the group. The group acquainted themselves with the meeting-room equipment by drawing on the whiteboard. Kevin Seeley discussed the projected production cost and price point for the device. The group began a discussion about their own experiences with using remote controls and about usability features to be included in the design. Kevin Seeley instructed Mark Hart to prepare the working design, Jacob Ashmore to research technical functions, and Jonathan Oreilly to prepare the user requirement specification. The group discussed the function of the prototype and decided that they should restrict the remote to television for the time being.

amisum

train

Gregory Kent: Okay. Gregory Kent: 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? Anthony Mann: I think we all have a presentation again, so Gregory Kent: Right. Anthony Mann: if we go through Steven Taylor: Yeah. Anthony Mann: those and then um. Gregory Kent: Three presentation, Anthony Mann: Shall Gregory Kent: yeah. Anthony Mann: I Gregory Kent: So Anthony Mann: go first again? Gregory Kent: Yeah, fine. Steven Taylor: Okay. Anthony Mann: I see this a little more smoothly than the last one. Anthony Mann: 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 Steven Taylor: Mm-hmm. Anthony Mann: 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 Gregory Kent: Okay. Anthony Mann: 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 Gregory Kent: Mm-hmm. Steven Taylor: Mm-hmm. Anthony Mann: 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 Gregory Kent: What would Anthony Mann: s Gregory Kent: be the cost do do we know? Anthony Mann: 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 Gregory Kent: Mm-hmm. Anthony Mann: 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 Gregory Kent: Mm-hmm. Anthony Mann: 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. Steven Taylor: 'Kay. Gary Ohare: Thanks. Gregory Kent: with the printed circuit boards you were going for the Anthony Mann: 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. Gregory Kent: Mm-hmm. Anthony Mann: Uh but I don't know, so that is something I'll have Gregory Kent: But Anthony Mann: to look Gregory Kent: are we Anthony Mann: into. Gregory Kent: going f R right. Anthony Mann: Um that's a that's a decision for all of us. Um. Gregory Kent: So are we able to make that decision Anthony Mann: Yeah Gregory Kent: now Anthony Mann: yeah. Gregory Kent: in a sense that this is the point at which Anthony Mann: We Steven Taylor: Mm-hmm. Anthony Mann: decide. Gregory Kent: we're discussing that issue, so Anthony Mann: Yeah. Gregory Kent: 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 Steven Taylor: Mm-hmm. Gregory Kent: and then make the decision at that point in time. Anthony Mann: Um. Gary Ohare: Yeah, Anthony Mann: Maybe Gary Ohare: that's probably Anthony Mann: w Gary Ohare: a better one, to discuss it straight away. Gregory Kent: '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 Anthony Mann: Um. Gregory Kent: 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 Anthony Mann: Yes. Gregory Kent: make sense? Steven Taylor: Mm-hmm. Gary Ohare: Um I have a lot of the information there. It might not be very clear. Anthony Mann: Is there Gary Ohare: Unless you want to plug it back in to yours. Anthony Mann: Um. We could do, yeah. Um yeah we should. Anthony Mann: As I say it only specified that we need a more advanced circuit board for the scroll wheel, it didn't Gregory Kent: Mm-hmm. Anthony Mann: The voice recognition came as a separate piece of information. Um. Gregory Kent: No the scroll wheel required the regular, so the Anthony Mann: Yeah if if you down um. Gregory Kent: Hmm. Anthony Mann: 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. Gregory Kent: Okay. Gary Ohare: I think Gregory Kent: The display Gary Ohare: the scroll Gregory Kent: requires Gary Ohare: wheel Gregory Kent: an Gary Ohare: um Gregory Kent: advanced chip the display requires an advanced chip which Anthony Mann: Also the Gregory Kent: in Anthony Mann: display's Gregory Kent: turn Anthony Mann: for something Gregory Kent: is more Anthony Mann: else which Gregory Kent: expense. Anthony Mann: we decided against. Um but that bit Gregory Kent: Okay. Anthony Mann: And note that the push button just requires a simple chip, so that would keep the price Gregory Kent: Down. Anthony Mann: down. Gary Ohare: Yeah, and if we're Steven Taylor: Mm-hmm. Gary Ohare: 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 Gregory Kent: Right. Gary Ohare: they don't really look great. Anthony Mann: 'Kay. Gregory Kent: Okay. Anthony Mann: So maybe just a simple push button, and that would Gregory Kent: So. Anthony Mann: cut costs on Gregory Kent: So Anthony Mann: the Gregory Kent: we're going for p Okay. So is um Steven Taylor: So are we going for the w are we going for the simple one, are we? Gary Ohare: Yeah, a simple Steven Taylor: Okay. Gregory Kent: Simple Gary Ohare: pushbuttons. Gregory Kent: push button. Anthony Mann: 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 Gregory Kent: Mm-hmm. Steven Taylor: Yeah. Anthony Mann: 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 Gregory Kent: 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? Anthony Mann: Um if it's just the push button then it just needs the simple circuit board. Gregory Kent: 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 Steven Taylor: Mm. Gregory Kent: the more advanced, then that would have to be the same for all of them. Gary Ohare: Hmm. Gregory Kent: S Steven Taylor: I suppose Gary Ohare: But Steven Taylor: we need we need to find out what circuit board that requires, maybe before we m make a decision. Gary Ohare: But Gregory Kent: Right. Gary Ohare: 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 Steven Taylor: Oh yeah, Gregory Kent: Mm-hmm. Gary Ohare: replying Steven Taylor: I suppose Gary Ohare: to your message. Steven Taylor: so, yeah. Anthony Mann: So maybe that would be something Gary Ohare: So Anthony Mann: separate, Gary Ohare: I don't think it Anthony Mann: yeah. Gary Ohare: would effect our Steven Taylor: Yeah. Gary Ohare: circuit Gregory Kent: No. Gary Ohare: board. Anthony Mann: Okay, so we'd have a simple circuit board and that would be an extra that would be in addition Gary Ohare: Yeah. Anthony Mann: to it. Steven Taylor: Yeah. Gary Ohare: And Anthony Mann: Oh Gary Ohare: I don't Anthony Mann: that makes Gary Ohare: think Anthony Mann: sense. Gary Ohare: 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. Gregory Kent: Mm-mm. Gary Ohare: It might be useful to say like where are you remote. Anthony Mann: Okay. Gary Ohare: Here I am, Jo. Steven Taylor: Yeah. Gary Ohare: But I think that's maybe as far as that one could go? Gregory Kent: Okay. Steven Taylor: Yeah. Anthony Mann: 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 Gary Ohare: Yeah, just Anthony Mann: possibility. Gary Ohare: as a fun way to find it. Anthony Mann: Okay. Um. Gregory Kent: Simple circuit board. Simple push button. Okay. W Gary Ohare: And it says that Gregory Kent: w kinetic. Gary Ohare: I think it said Gregory Kent: You Gary Ohare: the cost Gregory Kent: were you Gary Ohare: of that Gregory Kent: were Gary Ohare: isn't Gregory Kent: wanting Gary Ohare: too Gregory Kent: to Gary Ohare: much. Gregory Kent: go for the kinetic power supply. Anthony Mann: Um yeah I I thought so just for just for ease of not having to replace the batteries. Gregory Kent: Mm-hmm. Steven Taylor: Mm-hmm. Anthony Mann: Um. Gregory Kent: And how does it get uh charged up? Anthony Mann: 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 Steven Taylor: Mm-hmm. Anthony Mann: the mechanism inside powers up through movement. Gregory Kent: Okay. Anthony Mann: So you'd you'd move the remote around a little bit and then that powers it up to use it. Gregory Kent: Okay. Steven Taylor: Yeah. Gregory Kent: So the speech recognition was Are we going for speech recognition? No? 'Cause that required the advanced Gary Ohare: Um I think it would be helpful to find it, but Steven Taylor: Just Gary Ohare: I don't think it'd Anthony Mann: Uh yeah I Gary Ohare: um Anthony Mann: think did we decide it didn't affect the circuit board, it just affected Gary Ohare: Yeah, Steven Taylor: Just Gary Ohare: I think so. Steven Taylor: just Anthony Mann: It was just Steven Taylor: for the call and Gregory Kent: I had Steven Taylor: find Gregory Kent: speech Steven Taylor: thing. Gregory Kent: recognition requires advanced req Anthony Mann: Oh Gregory Kent: require Anthony Mann: no th that's what that's what I thought, but maybe maybe it doesn't. Um Gregory Kent: Oh. Anthony Mann: I think I might have got that wrong. Steven Taylor: 'Cause Gregory Kent: So Steven Taylor: it's s it's Gregory Kent: okay. Steven Taylor: separate isn't it, it's not part Gregory Kent: Speech Steven Taylor: of the Gregory Kent: recognition you reckon then is Anthony Mann: It's it's Gregory Kent: s Anthony Mann: just an addition thing it's Gregory Kent: simple. Anthony Mann: um yeah. Gregory Kent: And so we would want it in as an extra because it doesn't appear to cost too much. Would Anthony Mann: 'Kay. Gary Ohare: Mm-hmm. Gregory Kent: that be Steven Taylor: Mm-hmm. Anthony Mann: 'Kay shall I pass Gary Ohare: I Anthony Mann: on Gary Ohare: think Anthony Mann: to you now? Gregory Kent: In fact, it wouldn't really cost anymore, would it? Gary Ohare: 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 Steven Taylor: Yeah. Gary Ohare: like it's already kind Anthony Mann: I assume Gary Ohare: of Anthony Mann: it would cost extra, but Maybe we maybe we'll find out how much that does cost and have to decide slightly Gregory Kent: And Anthony Mann: later. Gregory Kent: then have to change all change everything at the last minute. Okay. Gary Ohare: Um. Gregory Kent: S Gary Ohare: 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? Gregory Kent: Sorry? Gary Ohare: It just seems to be skipping on without Gregory Kent: Yeah, Gary Ohare: us doing Gregory Kent: I've Gary Ohare: anything. Gregory Kent: found that try and get it back. Anthony Mann: If you right click and then go onto a previous slide. Gary Ohare: Ah it's alright. Um. Anthony Mann: Okay, Gary Ohare: There wasn't much more to say about that, Anthony Mann: right. Gary Ohare: 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 Anthony Mann: Yeah, Gary Ohare: a kind of Anthony Mann: yeah. Gary Ohare: 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 Anthony Mann: On the price, Gary Ohare: on the materials Anthony Mann: yeah. Gary Ohare: and the price it's not great. Gregory Kent: So Gary Ohare: Um Gregory Kent: you were saying the scroll buttons Gary Ohare: 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. Anthony Mann: 'Kay. Gregory Kent: Mm-hmm. Gary Ohare: Um but I don't know if that's really in our field? But Anthony Mann: I Gary Ohare: that's Anthony Mann: guess Gary Ohare: something Anthony Mann: I guess Gary Ohare: that's Anthony Mann: we're going Gary Ohare: out there. Anthony Mann: for the biggest market, maybe not, but Was it was it specified that we went for the biggest? Gregory Kent: Well we're to go for the international market rather than a local market but that Gary Ohare: Hmm. Gregory Kent: 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. Steven Taylor: Mm-hmm. Anthony Mann: So maybe the children's remote should be like a a next step, but maybe I dunno for ours, maybe Gregory Kent: Anyway Anthony Mann: we should Gregory Kent: 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 Gary Ohare: Hmm. Gregory Kent: to take Steven Taylor: Mm-hmm. Gregory Kent: care of specialist market segments. Steven Taylor: Mm-hmm. Gary Ohare: Okay. Right Gregory Kent: Is that Gary Ohare: well that's something that we can Gregory Kent: So so Gary Ohare: be Gregory Kent: what Gary Ohare: aware Gregory Kent: are we deciding Gary Ohare: of. Gregory Kent: to do Gary Ohare: Um. Gregory Kent: here? Gary Ohare: I think because there's already um very good voice recognition technology out there, Gregory Kent: Right. Gary Ohare: and because ours might not cover the same functions that the leading brands do, it might Gregory Kent: Mm-hmm. Gary Ohare: be a good idea to market it as a um finder function. Gregory Kent: Uh the fi Yeah, the finder function rather than as a speech function to find Anthony Mann: Yeah. Gregory Kent: your remote. Gary Ohare: Yeah. Anthony Mann: So Gregory Kent: Okay. Anthony Mann: you also said for going for the international market um that some some maybe older people might not like the speech recognition. Gary Ohare: Oh Anthony Mann: S Gary Ohare: yeah. Anthony Mann: s so um Gary Ohare: Different languages Anthony Mann: Yeah, Gary Ohare: might not Anthony Mann: yeah. Gary Ohare: be compatible. Anthony Mann: It w it would make it quite complicated, Gregory Kent: Hmm. Anthony Mann: where um ours at least keeps it fairly simple and then the Gary Ohare: Hmm. Steven Taylor: Mm-hmm. Gary Ohare: Yeah, 'cause I think you program um this one yourself, like to say Anthony Mann: Yeah, Gary Ohare: like Anthony Mann: yeah. Gary Ohare: whatever you want to your question. Steven Taylor: Yeah and ours is quite a cheap device, so I don't know how much we'll be able to put into it. Anthony Mann: Yeah. Steven Taylor: Yeah. Gregory Kent: So you'd have a finder feature rather than a voice recognition feature. Gary Ohare: Hmm. Maybe Gregory Kent: And you Gary Ohare: unless Gregory Kent: were talking Gary Ohare: something else comes up. Gregory Kent: Mm. And you were talking about scroll buttons? Gary Ohare: Um yeah I think um I think we've decided that it's gonna increase the cost and give Gregory Kent: Okay. Gary Ohare: no real kinda extra Anthony Mann: Yeah. Gary Ohare: benefit Gregory Kent: b Gary Ohare: and it's gonna decrease from the sleekness of it. Gregory Kent: was that Anthony Mann: Yes Gregory Kent: right? Anthony Mann: yes. Gary Ohare: 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 Gregory Kent: Okay. Gary Ohare: remote. Gregory Kent: So not to be focused on. Gary Ohare: 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. Gregory Kent: Good in in Gary Ohare: I'm just Gregory Kent: Flip Gary Ohare: gonna check Gregory Kent: it round Gary Ohare: so I do Gregory Kent: in ninety Gary Ohare: this right. Gregory Kent: degree a hundred and eighty degrees and have it up and down. An upside-down V_. Gary Ohare: Um. Gregory Kent: So that would show Gary Ohare: What Gregory Kent: that Gary Ohare: did they Gregory Kent: volume Gary Ohare: say? Gregory Kent: was going up, whereas the one underneath would see the volume going down. Gary Ohare: 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 Gregory Kent: Right. Gary Ohare: right, can it? Oh well, no, they might see yeah, they might see this pointing down Gregory Kent: Mm-hmm. Gary Ohare: and think right that's gonna turn the volume down, whereas the actual button's pointing up, Gregory Kent: Mm-hmm. Gary Ohare: so the function is to turn the button up. So, Anthony Mann: So maybe we could have Gary Ohare: be Anthony Mann: like Gary Ohare: careful what you put on the buttons and be careful of the shape that you make them, Steven Taylor: Mm-hmm. Anthony Mann: Yeah. Gary Ohare: because they might be kind of two um contradicting Anthony Mann: Yeah Gary Ohare: kind Anthony Mann: I I Gary Ohare: of Anthony Mann: know Gary Ohare: shapes. Anthony Mann: what you mean. So maybe we could have volume written on the side and then up and down on the on the buttons themselves. Gregory Kent: Yeah. Gary Ohare: Yeah. Gregory Kent: You could have volume Anthony Mann: Possible. Gregory Kent: up and volume Volume up, down and Anthony Mann: Mm. Gregory Kent: Like that. And 'cause the idea was to have limited um it was to have sizable amount of information on it. Anthony Mann: Yeah Gregory Kent: Limited Anthony Mann: yeah. Gregory Kent: number of buttons. Anthony Mann: Yeah. Gregory Kent: 'Cause it was sixteen buttons, wasn't it that Anthony Mann: Yeah Gregory Kent: were Anthony Mann: we got it down Steven Taylor: Mm-hmm. Anthony Mann: to not too many. Gary Ohare: Um and I think that's all I had to say for that. Steven Taylor: Okay. Gary Ohare: Um so what was the decision on the um design of the volume button? Anthony Mann: Um Are we are we gonna go through the design of all the buttons at the moment, or are we gonna Steven Taylor: I've I've got Anthony Mann: t Steven Taylor: some things to say about possible design things Anthony Mann: Yeah, Steven Taylor: from Anthony Mann: maybe we Gary Ohare: Oh Gregory Kent: Okay. Anthony Mann: should Gary Ohare: okay. Anthony Mann: see yours Steven Taylor: trend Anthony Mann: first. Steven Taylor: watching. Cool. Steven Taylor: 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. Gregory Kent: You know Steven Taylor: So Gregory Kent: yourself. Steven Taylor: 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. Anthony Mann: 'Kay. Steven Taylor: 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? Gary Ohare: I think if you start making the buttons fruit shaped, it might make it more complicated to use. Gregory Kent: 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 Steven Taylor: Yeah. Gregory Kent: thought Gary Ohare: Yeah. Gregory Kent: the functionality 'cause the people get cheesed off by things by having to read instructions et cetera, so. ... Gary Ohare: 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 Gregory Kent: Okay. Gary Ohare: then that Steven Taylor: Maybe Gary Ohare: wouldn't Steven Taylor: yeah. Gary Ohare: get in the way of like kinda one Gregory Kent: Now? Gary Ohare: to nine, and it wouldn't confuse Gregory Kent: Yeah. Gary Ohare: the numbers. Gregory Kent: Stand-by button. No th that that incorporates the trend whilst at the same time not confusing people, Steven Taylor: Mm-hmm. Gregory Kent: if you're looking for functionality. Anthony Mann: Well I dunno I I guess maybe fruit and vegetables may be popular at the moment, but as we know Gregory Kent: But Anthony Mann: how Gregory Kent: what Anthony Mann: fickle Gregory Kent: are they gonna be Anthony Mann: the Gregory Kent: next Anthony Mann: fashion Gregory Kent: Yeah. Anthony Mann: markets Gregory Kent: What are they Anthony Mann: are, Gregory Kent: gonna be Anthony Mann: maybe Steven Taylor: Yeah Gregory Kent: next year. Steven Taylor: yeah. Gary Ohare: Hmm. Gregory Kent: But Gary Ohare: S Gregory Kent: but th but okay but you you can incorporate the tr If y if you change all the buttons Steven Taylor: Mm-hmm. Gregory Kent: then you've got the problem that this year's fruit and veg, next year's uh I was gonna say animals or elephants Steven Taylor: Yeah, Gregory Kent: or w whatever. Steven Taylor: I'm Gregory Kent: That Steven Taylor: not Gregory Kent: means you're constantly changing your production schedule, and you've gotta make different Steven Taylor: Yeah. Gregory Kent: moulds and everything else, so that's not a good idea Steven Taylor: I'm Gregory Kent: I would Steven Taylor: not I'm not Gregory Kent: I would Steven Taylor: sure Gregory Kent: suggest. Steven Taylor: what what what the sort of timescale we're thinking of selling the product over is. I don't know. Anthony Mann: I mean it just seems realistic that the remote control market isn't the kind of thing which takes in those kinds of fashion Steven Taylor: Yeah, Anthony Mann: trends. Steven Taylor: yeah. Anthony Mann: to something which is maybe more universal. Steven Taylor: Mm-hmm. Gregory Kent: Well Gary Ohare: But I suppose as long as it's quite a subtle design, Steven Taylor: Mm-hmm. Gary Ohare: um Anthony Mann: We c Gary Ohare: even Anthony Mann: maybe Gary Ohare: if Anthony Mann: can Gary Ohare: the design Anthony Mann: imply Gary Ohare: kind Anthony Mann: a Gary Ohare: of Anthony Mann: fruit Gary Ohare: changes, Anthony Mann: shape possibly. Steven Taylor: Mm-hmm. Gregory Kent: Ah d d But Anthony Mann: Maybe Gregory Kent: if Anthony Mann: the spongy feel is something we could think Gregory Kent: Mm-hmm. Anthony Mann: about, um. Gregory Kent: Well. Yep. Anthony Mann: Maybe still with a rubber design we could Gregory Kent: 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? Steven Taylor: Yeah. Gary Ohare: It Gregory Kent: So Gary Ohare: seems like you're Gregory Kent: the Gary Ohare: gonna have rubber cases, as well as buttons. Steven Taylor: Yeah. Yeah. Anthony Mann: Um. Gary Ohare: And that you can make them curved or double-curved and that would be the kind of Anthony Mann: Oh Gary Ohare: sleek Anthony Mann: yeah Gary Ohare: and sexy Anthony Mann: yeah one of Gary Ohare: look. Anthony Mann: the things were if you had rubber buttons then you had to have a rubber case. Gregory Kent: Mm-hmm. Gary Ohare: Oh Anthony Mann: Um Gary Ohare: right, that Anthony Mann: oh Gary Ohare: fits, Anthony Mann: no no Gary Ohare: doesn't Anthony Mann: no sorry Gary Ohare: it? Anthony Mann: 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. Gary Ohare: Right. Anthony Mann: Um. Gregory Kent: Rubber buttons require rubber case. Gary Ohare: And that would fit in with what we want, wouldn't it, for the Steven Taylor: Mm-hmm. Gary Ohare: spongy feel, to have everything rubber. Gregory Kent: 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 Steven Taylor: Mm-hmm. Gregory Kent: 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 Steven Taylor: Mm-hmm. Gregory Kent: last year's stock and therefore you're selling it or having to sell it at a discounted rate which you wouldn't want Steven Taylor: Yeah. Gregory Kent: to do. Whereas if you kept the product the same but you could have a difference from year to year, uh it seems to Steven Taylor that you could Steven Taylor: Okay. Gregory Kent: incorporate a fashion statement if you like, rather than changing the whole kit and caboodle. Steven Taylor: Yeah. Anthony Mann: Yeah. Gregory Kent: 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 Anthony Mann: I suppose we maybe Steven Taylor: Mm-hmm. Anthony Mann: are limited in the fact that we still have to put the logo on the actual Gregory Kent: Well, Anthony Mann: would Gregory Kent: you might Anthony Mann: or Gregory Kent: be limited Anthony Mann: not. Gregory Kent: in space, that yes. Anthony Mann: Yeah. Steven Taylor: Mm-hmm. Gregory Kent: Well Gary Ohare: Hmm. Gregory Kent: you two are obviously gonna find that out fairly quickly when you move over to your kit modelling stage as Anthony Mann: Yes Gregory Kent: to uh Anthony Mann: yes. Gregory Kent: how much pl how much how much how pliable is Plasticine. Anthony Mann: 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 Steven Taylor: Mm-hmm. Anthony Mann: whether that would be too much to incorporate in production, whether that would just increase Gregory Kent: Hmm. Anthony Mann: the costs, make it more complicated. Steven Taylor: That's Gregory Kent: So Steven Taylor: possibly Gregory Kent: you're talking Steven Taylor: it. Gregory Kent: there about uh changing changing the casing. Anthony Mann: Yeah the a the actual the sort of the look from the outside, so where the buttons would stay the same, and Steven Taylor: Mm-hmm. Anthony Mann: the general function of the remote would stay the same, but you could change the the way it looked. Gary Ohare: Yeah and then you could have Oh but you still would have to have the logo on every new case, Anthony Mann: Yeah, that's Gary Ohare: but you could have Anthony Mann: true. Gary Ohare: like pink cases for girls and Gregory Kent: Yeah Gary Ohare: red Gregory Kent: you Gary Ohare: ones Gregory Kent: you could Gary Ohare: and Gregory Kent: do a Gary Ohare: things Gregory Kent: colour Gary Ohare: like Gregory Kent: change, so therefore Gary Ohare: that. Gregory Kent: you would yeah yeah I mean that's effectively what they did with the with the mobile phones, was Anthony Mann: Yeah. Gregory Kent: to have some in blue, some in red, some in rather Steven Taylor: Mm-hmm. Gregory Kent: than all in black or, you know, which Gary Ohare: Hmm. Gregory Kent: four do you want, as long as it's black? But uh so Anthony Mann: So it is a possibility, um. Gary Ohare: But we are supposed to use the um company colour scheme, aren't we? We haven't Gregory Kent: Yes Anthony Mann: Oh Gary Ohare: really Anthony Mann: okay Gary Ohare: seen Gregory Kent: oh that's Gary Ohare: that yet Gregory Kent: true Steven Taylor: Yeah. Anthony Mann: yes Gregory Kent: uh Anthony Mann: that Gregory Kent: that Anthony Mann: is Gary Ohare: It Gregory Kent: might Gary Ohare: might Gregory Kent: no Gary Ohare: and we might be able to do both but it might clash with certain things. Gregory Kent: 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 Steven Taylor: Mm-hmm. Gregory Kent: 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 Steven Taylor: Mm-hmm. Gregory Kent: 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 Anthony Mann: Mm-hmm. Gregory Kent: 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 Steven Taylor: Mm-hmm. Gregory Kent: their own uh badge over the top. Steven Taylor: Mm-hmm. Gregory Kent: 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 Anthony Mann: Mm-hmm. Gregory Kent: you know a white casing Anthony Mann: Yeah. Gregory Kent: uh product. So. Gary Ohare: Hmm. Anthony Mann: 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. Steven Taylor: Mm-hmm. Gary Ohare: Well if it's for young people, um Steven Taylor: Yeah. Gary Ohare: like the phone generation, that sort of Anthony Mann: Yeah. Gary Ohare: thing'd probably go down well, and the market research has been on that side of things, hasn't it? Steven Taylor: 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 Anthony Mann: Yeah I suppose, Steven Taylor: i if Anthony Mann: where you Steven Taylor: it Anthony Mann: you keep the remote hidden Gregory Kent: It's Anthony Mann: under Gregory Kent: uh in Anthony Mann: the sofa Gregory Kent: in the Anthony Mann: most Gregory Kent: house, Anthony Mann: of the time. Gregory Kent: isn't it, Steven Taylor: Yeah. Gregory Kent: I suppose. Steven Taylor: I Gary Ohare: Okay, Steven Taylor: think Gary Ohare: so if we just went for one colour of a rubber case Gregory Kent: So Steven Taylor: Mm-hmm. Gregory Kent: don't change case. Change case colour. And we're sort of saying no to that. Gary Ohare: Did we decide on the rubber case? The spongy feel, or did we think that that might go as a trend? Steven Taylor: 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 Gregory Kent: Yeah. Steven Taylor: just the fact that it was a rubber case is probably less less of Anthony Mann: Yeah, Steven Taylor: something Anthony Mann: less likely Steven Taylor: that Anthony Mann: to Gregory Kent: Sounds Steven Taylor: y Gregory Kent: reasonable. Steven Taylor: you're gonna end up hating in a year, you know. Anthony Mann: So then Gregory Kent: If Anthony Mann: th th that Gregory Kent: you're going Anthony Mann: would Gregory Kent: for fashion trends like that they'll need t you'd have to have interchangeable cases so that you could or Anthony Mann: Yeah. Gregory Kent: 'cause otherwise someone's Steven Taylor: Yeah. Gregory Kent: gonna have to buy a complete new remote rather than just a case. Steven Taylor: Mm. Anthony Mann: 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. Gregory Kent: Okay. Steven Taylor: Okay. Anthony Mann: Um. Gary Ohare: 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. Anthony Mann: Um. Gary Ohare: I'm Anthony Mann: Mayb Gary Ohare: not exactly sure Anthony Mann: Maybe Gary Ohare: what Anthony Mann: curves Gary Ohare: these things look Anthony Mann: give Gary Ohare: like. Anthony Mann: it like the slightly more aesthetic feel? But the double curve wouldn't require us to perform miracles with the Plasticine. Gary Ohare: Well it says that Steven Taylor: When you say d when you say double-curved, what what exactly does that mean? Gary Ohare: I'm not exactly sure. Steven Taylor: Okay. Gary Ohare: 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 Steven Taylor: No you're Gary Ohare: in, am Steven Taylor: not Gary Ohare: I? Steven Taylor: connected Gary Ohare: That doesn't Steven Taylor: to Steven Taylor Gary Ohare: help. Steven Taylor: anymore. Gregory Kent: One one thing to Gary Ohare: Shall Gregory Kent: cons Gary Ohare: I just turn it round for time? Gregory Kent: one thing to consider is that in some ways you want um Steven Taylor: That should come up. Gregory Kent: 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 Steven Taylor: Mm. Gregory Kent: store them up on top Anthony Mann: Mm-hmm. Gregory Kent: 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. Anthony Mann: Yeah yeah. Steven Taylor: Mm-hmm. Gary Ohare: Hmm. Anthony Mann: So shall we go through quickly and just work out what we've decide on, if we have to kind Gregory Kent: So Anthony Mann: of Gregory Kent: but Steven Taylor: Yeah. Gary Ohare: Um it's not very clear up there, but you Gregory Kent: No. Gary Ohare: can see some of them have got kind of bulges, like Gregory Kent: Mm Gary Ohare: the second Gregory Kent: yep. Gary Ohare: one and the end one Steven Taylor: Right. Gary Ohare: 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, Steven Taylor: That's Gary Ohare: or? Steven Taylor: what I was trying to work out. Gary Ohare: But um Gregory Kent: Oh right. Gary Ohare: it is a kinda sleeker look if you've got curves in there. Steven Taylor: Shall we Gregory Kent: S so do you wanna go for curves, more curves? We're meant Gary Ohare: Definitely Gregory Kent: to be f Gary Ohare: a single, Gregory Kent: we're meant to Gary Ohare: maybe Gregory Kent: be finishing Gary Ohare: a double. Gregory Kent: this meeting in about a minute or so. Steven Taylor: Yeah. Anthony Mann: 'Kay, so Gary Ohare: Shall Anthony Mann: shall Gary Ohare: we Anthony Mann: we Gary Ohare: go for Anthony Mann: quickly Gary Ohare: single curve, just to compromise? Anthony Mann: We'll go for single curve, yeah. Steven Taylor: Okay. Gregory Kent: Okay, Anthony Mann: Single curve. Gregory Kent: curved or double curved? So it's single curved. Anthony Mann: So did we did we decide on the kinetic power supply? The Steven Taylor: Yeah I think Anthony Mann: one Gary Ohare: Yeah. Anthony Mann: you move Steven Taylor: that Anthony Mann: around? Steven Taylor: think that's a Gregory Kent: Yep. Steven Taylor: good Anthony Mann: Okay. Steven Taylor: idea. Anthony Mann: Um Gary Ohare: And the rubber push buttons, Steven Taylor: Rubber Gary Ohare: rubber case. Steven Taylor: Rubber buttons and case. Gary Ohare: Um and we don't really know much about the colour scheme or logo yet do we, but Anthony Mann: Oh we Gary Ohare: possibly Anthony Mann: ca Gary Ohare: a sticker. Anthony Mann: 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 Steven Taylor: Yeah. Anthony Mann: by not having anything too complicated. Gary Ohare: Yeah. Anthony Mann: Um. Gary Ohare: Yeah and and the voice recognition, we can use that can't we, just to find it. Steven Taylor: Yeah Gary Ohare: Without Gregory Kent: Yes. Anthony Mann: Um. Steven Taylor: yeah. Gary Ohare: affecting the circuit board. Gregory Kent: Yep. Anthony Mann: And see we could always decide against it if something comes up that's just something to that we seemed to leave out. Steven Taylor: And then are we going for sort of one button shaped like a fruit. Gary Ohare: Yeah that Steven Taylor: Or Gary Ohare: sounds Steven Taylor: veg. Gary Ohare: like it wouldn't do too much harm in a couple of years. Uh what sort of shape do we want? Steven Taylor: Don't know, maybe Gregory Kent: So Steven Taylor: just Gregory Kent: we've got spongy feel buttons as well, have we? As well as or Steven Taylor: Yeah. Gregory Kent: w or was that Steven Taylor: That's ru rubber buttons, yeah. Anthony Mann: Yeah, it was Gregory Kent: So Anthony Mann: just Gregory Kent: it's rubber buttons, so it's not really spongy feel buttons, it's just rubber buttons. Anthony Mann: 'Kay. Steven Taylor: Yeah. Gregory Kent: With a rubber Gary Ohare: Yeah, Steven Taylor: Reasonably Gregory Kent: case Gary Ohare: so it's Steven Taylor: spongy Gary Ohare: not Gregory Kent: right? Gary Ohare: too wacky. Steven Taylor: I guess, yeah. Gregory Kent: And the standby button is gonna be different. Steven Taylor: Yeah okay. Gary Ohare: 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. Steven Taylor: Yeah. Gregory Kent: Okay so what what shape are we making the standby button? Steven Taylor: Apple? Gary Ohare: Vote? Gregory Kent: A apple. Oh oh Steven Taylor: Yeah. Gregory Kent: Sorry? Gary Ohare: Shall we vote on it? Steven Taylor: Yeah. Anthony Mann: We will go Gary Ohare: Anyone Anthony Mann: for the a Gary Ohare: got Anthony Mann: a Gary Ohare: any Steven Taylor: Apple Anthony Mann: a Gary Ohare: suggestions? Anthony Mann: apples Steven Taylor: apple Anthony Mann: apples. Steven Taylor: a Gary Ohare: Right. Steven Taylor: a qu Quite a big one, as well. Gary Ohare: Okay. Ah. Steven Taylor: A big apple. Uh Gary Ohare: Well it could be red. Steven Taylor: Could be a red apple, yeah. Either, don't mind. Gregory Kent: A red apple? Gary Ohare: Yeah Gregory Kent: Is it? Gary Ohare: 'cause we wanna incorporate a bit of colour if we can, once we find out Anthony Mann: Okay. Gary Ohare: um Anthony Mann: 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. Steven Taylor: Mm-hmm. Anthony Mann: Um. Gary Ohare: Yeah. Yeah that seems pretty straight forward. Anthony Mann: Yeah. Gary Ohare: 'Cause most of them will just be kind of mainly circular or like very plain. Anthony Mann: 'Kay. Steven Taylor: Mm-hmm. Okay. Gregory Kent: Sorry what was that last thing again there? Gary Ohare: Uh just to keep the shape of the buttons simple. Gregory Kent: Right much option on that. I thought you were going for a single curve and Gary Ohare: Ah just the uh shape of the buttons. Gregory Kent: Alright. Anthony Mann: And j yeah, just keeping the sort of the labelling them labelling of them fairly simple as well. Gary Ohare: Yeah. Anthony Mann: Fairly sort of self explanatory. Gregory Kent: Right, so shape of buttons simple. Gregory Kent: 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. Anthony Mann: Okay. Gregory Kent: Okay, so um. Anthony Mann: Is that the end? Okay. Steven Taylor: Looks like it. Gregory Kent: Okay.

Gregory Kent reviewed the minutes from the last meeting. Anthony Mann 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. Gary Ohare 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. Steven Taylor 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. Gregory Kent instructed Gary Ohare and Anthony Mann to construct the prototype.

amisum

train

Bruce Jarvis: So is Why not save that. Roberto Gable: No, you'll ha have to open it up from elsewhere. Bruce Jarvis: Do you want to replace existing file, no. I actually tried to transfer it to My Documents, but Roberto Gable: Yeah, you have to you have to close that window. 'Cause that's the save one isn't it, so And then find it. Bruce Jarvis: spreadsheet. Bruce Jarvis: Yeah, but I've ta uh right, I'll just re-do it. That's the easiest way. Bruce Jarvis: Right. Richard Robbins: Well we've made our prototype anyway. We can have a good look at that. Roberto Gable: You pass it round to have a look. Richard Robbins: Mm-hmm. Y no, it's a slightly curved around the sides. Roberto Gable: Mm very nice. Richard Robbins: Um, it's almost curved like up to the main display as well. Roberto Gable: Mm-hmm. Richard Robbins: 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 Roberto Gable: Mm-hmm. Richard Robbins: on the little line. And we've got the stick on the button with the company logo on. Roberto Gable: Mm-hmm. Lonnie Hix: We also have a apple slash cherry design at the top. Roberto Gable: So it is, yeah. Cherry would be alright actually. Yeah. Richard Robbins: 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 Lonnie Hix: Yeah, Richard Robbins: Mac. Lonnie Hix: yeah, we might get a Roberto Gable: Mm-hmm. Copyright, yeah. What's this Richard Robbins: Yeah, Roberto Gable: this Richard Robbins: and cherries Roberto Gable: one? Richard Robbins: are fun, summery. Roberto Gable: What's that one there? Richard Robbins: Ah, that's the mute. Roberto Gable: Oh, okay. Lonnie Hix: For the M_. Roberto Gable: Right. Richard Robbins: It it'd probably have to be labelled mute. But Lonnie Hix: They're Richard Robbins: um, Lonnie Hix: thinking Richard Robbins: we didn't have anything small enough to write. Roberto Gable: Okay. Lonnie Hix: For the first time, well it was hard to get the h um the actual labelling on the individual buttons. Roberto Gable: Mm-hmm. Richard Robbins: 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. Roberto Gable: Mm-hmm. Richard Robbins: The mute could possibly be a bit smaller. Lonnie Hix: Hum, you separate off in colour the volume related buttons from the channel related buttons, so you've got the volume in orange on Roberto Gable: Yeah. Lonnie Hix: design there, and the the channel is in blue. Richard Robbins: Mm-hmm. Bruce Jarvis: R right. Richard Robbins: Yeah, and we chose Bruce Jarvis: Um, Richard Robbins: a V_ Bruce Jarvis: all Richard Robbins: plus Bruce Jarvis: these things Richard Robbins: and V_ minus. Bruce Jarvis: 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 Roberto Gable: I'll see if I can find them. Bruce Jarvis: 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 Lonnie Hix: Yeah, Bruce Jarvis: open Lonnie Hix: sis Bruce Jarvis: to debate, I suppose. Richard Robbins: Well Roberto Gable: Have Richard Robbins: 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 Bruce Jarvis: An Richard Robbins: where the colour buttons came from. Bruce Jarvis: important consideration. Right, okay so um And the second one underneath would be the idea for the Lonnie Hix: Yes, we'll have the slide-away. Bruce Jarvis: Right, okay. Lonnie Hix: Bottom. Bruce Jarvis: 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 Roberto Gable: Mm-hmm. Bruce Jarvis: um our previous meeting. So Roberto Gable: Mm-hmm. Bruce Jarvis: other than the fact that it doesn't have the second layer, Lonnie Hix: Mm-hmm. Bruce Jarvis: 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, Lonnie Hix: Yes, yes. Bruce Jarvis: and the bit after the evaluation criteria is uh is the finance. Roberto Gable: Right. Lonnie Hix: Okay. Bruce Jarvis: 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. Lonnie Hix: Mm-hmm. Bruce Jarvis: Um, and whether it would uh Roberto Gable: So if you had to do a presentation or will you just work it on the prototype? Richard Robbins: Uh, Lonnie Hix: This this is Richard Robbins: that's Lonnie Hix: a yes, this Roberto Gable: That's Lonnie Hix: is our presentation Roberto Gable: the pr Richard Robbins: it. Lonnie Hix: of the prototype. Roberto Gable: Okay. Bruce Jarvis: 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 Lonnie Hix: Mm-hmm. Bruce Jarvis: uh twelve and a half Euros. So, there's no redesign. So that should uh Right, so, seems to Roberto Gable that the thing that I have to do is is quickly find that uh Lonnie Hix: Could we get this on the board just so we can see or do you mean do you have the figures there? Roberto Gable: we should plug it in. Bruce Jarvis: Right. Roberto Gable: Do you wanna plu do you wanna plug it in into the the Bruce Jarvis: Okay. Roberto Gable: back of that one. Lonnie Hix: 'Kay, Alice. So, Roberto Gable: We could do it as Lonnie Hix: sh Roberto Gable: we d go along, the production costs, looking at the prototype. Bruce Jarvis: Right. Lonnie Hix: 'Kay this should be then. Bruce Jarvis: 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, Lonnie Hix: Mm-hmm. Bruce Jarvis: we had decided that we're having rubber buttons and Lonnie Hix: Have a push button interface. Bruce Jarvis: Okay. W Lonnie Hix: Um Bruce Jarvis: the button supplements. Well, originally, I thought there would just be uh one in there because it was the one red apple. Lonnie Hix: Um Bruce Jarvis: But So the so the real w the real question then would come in. Do you make all the buttons Roberto Gable: Well do we'll do it Bruce Jarvis: O Roberto Gable: on the prototype, so do two, see how much it is. Bruce Jarvis: Well, so we've got one special button form, which was the apple. Everything Roberto Gable: Yeah. Bruce Jarvis: else Lonnie Hix: Yeah. Bruce Jarvis: is gonna be a standard. Lonnie Hix: And then we'd Bruce Jarvis: We've Lonnie Hix: have Bruce Jarvis: got special material, rubber, wood, titanium, et cetera and that, so, Roberto Gable: Mm-hmm. Bruce Jarvis: I was originally, I was thinking rubber wasn't special, but according to this, maybe it is. Roberto Gable: Mm-hmm. Bruce Jarvis: So And the r I mean effectively we've got sixteen buttons that we're gonna have on there. Roberto Gable: Yeah. I think you just do one, don't you, for the Bruce Jarvis: 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 Roberto Gable: I think I think it's just it's just a one. Else Bruce Jarvis: 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. Roberto Gable: 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. Bruce Jarvis: Mm. Roberto Gable: I don't know though. Bruce Jarvis: I would Every design change is uh Roberto Gable: Hmm. Bruce Jarvis: 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. Roberto Gable: Mm-hmm. Bruce Jarvis: 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. Roberto Gable: Mm-hmm. Bruce Jarvis: And if What happened? Roberto Gable: You've just gone off the window into another one. It's on the bottom row. Richard Robbins: Maybe if you just minimise that one in the top right-hand corner of the little box. Yeah. Bruce Jarvis: 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. Roberto Gable: Yeah. Yeah. Bruce Jarvis: Okay. Lonnie Hix: So that's nine point one there so we've got some Bruce Jarvis: So it Well, is it s is no, it's nine point seven I've got. Lonnie Hix: 'Kay. Roberto Gable: Mm-hmm. Bruce Jarvis: Okay. Lonnie Hix: Just give us a bit of Bruce Jarvis: So, that would that would work out fine if uh Roberto Gable: Mm-hmm. Bruce Jarvis: uh as assuming your correction are are assuming that that one change covers all the buttons, then that would be fine. Roberto Gable: Mm-hmm. Bruce Jarvis: And there's Richard Robbins: S Bruce Jarvis: nothing else as far as I can see that we we had uh planned to put Lonnie Hix: I switching Bruce Jarvis: on. Lonnie Hix: 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 Bruce Jarvis: Uh-huh. Lonnie Hix: guess the sample sens sample speaker would be the voice recognition thing, Roberto Gable: Yeah. Lonnie Hix: which puts up to four? We should be slightly over our budget but if we gather something else down to slightly lower standard, Roberto Gable: Yeah. Lonnie Hix: and maybe go with the one the special form buttons, then we could have Bruce Jarvis: Well, Lonnie Hix: the Bruce Jarvis: hold Lonnie Hix: speech Bruce Jarvis: on. if we Okay, that gives us twelve point seven Lonnie Hix: 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 Bruce Jarvis: But remember Lonnie Hix: without Bruce Jarvis: 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 Lonnie Hix: Yeah, yeah. Richard Robbins: Um, D Lonnie Hix: Um Richard Robbins: 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 Roberto Gable: Yeah, we have to have Richard Robbins: sample Roberto Gable: it Richard Robbins: speaker be separate things, Lonnie Hix: Oh Richard Robbins: so you Lonnie Hix: possibly, Richard Robbins: need both Roberto Gable: Yeah. Richard Robbins: of them? Lonnie Hix: yeah, yeah maybe. Maybe um we'd be giving up on the kinetic. Um Bruce Jarvis: And go Roberto Gable: Yeah. Bruce Jarvis: for battery instead. That would give Lonnie Hix: We should Bruce Jarvis: you one less. Lonnie Hix: Yeah, that would save us one, though we'd still be slightly Bruce Jarvis: But you Lonnie Hix: ov Bruce Jarvis: reckon that i I mean the thing is that you wanted to a appeal to people and not have to replace batteries. Lonnie Hix: 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. Roberto Gable: Mm-hmm. Lonnie Hix: 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 Roberto Gable: Mm-hmm. Lonnie Hix: have the batteries, or whatever they would prefer not uh You know what I mean? The the problem was the battery's Bruce Jarvis: Mm-hmm. Lonnie Hix: running out and losing the um Roberto Gable: Yeah. Lonnie Hix: losing the remote. So you gotta decide which of those is more important to them. Bruce Jarvis: But which do you think or which do we think is the more important of the options? Richard Robbins: I think the Bruce Jarvis: In Richard Robbins: voice Bruce Jarvis: a sense, Richard Robbins: recognition. Bruce Jarvis: 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 Roberto Gable: Shall Lonnie Hix: Yeah. Roberto Gable: we Bruce Jarvis: product. Roberto Gable: 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? Bruce Jarvis: Mm-hmm. Makes Roberto Gable: Okay. Lonnie Hix: Okay. Bruce Jarvis: sense. Roberto Gable: 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. Bruce Jarvis: Sorry, do you want that Roberto Gable: Yeah, Bruce Jarvis: back Roberto Gable: I Bruce Jarvis: up? Roberto Gable: just had a presentation to Bruce Jarvis: Right. Roberto Gable: do. Richard Robbins: But I do think uh the v uh voice recognition thing would be more impressive than the fact that it's got no battery. Bruce Jarvis: 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. Roberto Gable: 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. Roberto Gable: 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, Lonnie Hix: Okay. Roberto Gable: so I'll go over here. Roberto Gable: Right. So the first one is um, does the product look and feel fancy. So if we do a sort of a one So Lonnie Hix: Okay, well we have a single curve, which was maybe like the Roberto Gable: Yeah. Lonnie Hix: feel of the product's quite good. So Roberto Gable: Okay. Lonnie Hix: uh Um, then we have the rubber kinda spongy feel, which was Roberto Gable: Yeah. Lonnie Hix: in at the time. Roberto Gable: Yeah. Lonnie Hix: Um, Roberto Gable: Yeah. Lonnie Hix: sorry that'd be considered fancy. Richard Robbins: Yeah, I'd maybe give it a a two. Roberto Gable: Of but I think What Is one false, or is t one true? I forgot. Richard Robbins: One's true. Roberto Gable: One's true, and okay. Seven's Richard Robbins: And a Roberto Gable: fal Richard Robbins: four is neutral. Roberto Gable: Four is neutral, okay. So Lonnie Hix: So maybe maybe a two. Richard Robbins: Yeah, 'cause we haven't got the double curve, so we can't like Bruce Jarvis: Go Richard Robbins: say it's Bruce Jarvis: for Roberto Gable: Right. Richard Robbins: completely Bruce Jarvis: one. Richard Robbins: true. But Bruce Jarvis: Yep. Richard Robbins: it's pretty close. We've got almost everything we can. Roberto Gable: Okay. Bruce Jarvis: Okay. Roberto Gable: 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, Lonnie Hix: Yeah. Roberto Gable: you Richard Robbins: Yeah. Roberto Gable: think? Okay. Bruce Jarvis: Yeah, why not not, m m maybe nearer three. Roberto Gable: Okay, well d you do Bruce Jarvis: Two Roberto Gable: an average Bruce Jarvis: three. Roberto Gable: at the end, I don't know. Um Bruce Jarvis: 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, Roberto Gable: Uh-huh. Bruce Jarvis: and we're not going for Roberto Gable: This Bruce Jarvis: these Roberto Gable: this Bruce Jarvis: options. Roberto Gable: is just this is just for like the look. Does it sort of look Bruce Jarvis: Mm-hmm. Roberto Gable: fancy rather than functional. So Richard Robbins: Yeah, I suppose that might be in the technical innovation bit. Roberto Gable: Yeah, so that so sh should we go for a a two on that? Bruce Jarvis: Okay. Roberto Gable: 'Kay. And I mean, how much does the product demonstrate technical innovation do Lonnie Hix: Um, Roberto Gable: you reckon? Lonnie Hix: 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 Roberto Gable: D Lonnie Hix: amount Roberto Gable: yeah. Lonnie Hix: of speech recognition. Roberto Gable: Okay. So, what about the pr The prototype as it is, Lonnie Hix: Um Roberto Gable: we've got we've got the speech recognition on it, haven't we. Lonnie Hix: But not the kinetic. Roberto Gable: But not the kinetic. Lonnie Hix: Like the power. Bruce Jarvis: No. 'Cause you can't afford that w we Lonnie Hix: No, Bruce Jarvis: took Lonnie Hix: we c Bruce Jarvis: that out Lonnie Hix: ca Bruce Jarvis: too. Lonnie Hix: yeah, we can't afford both. Roberto Gable: Alright, Bruce Jarvis: Didn't Roberto Gable: so Bruce Jarvis: you? Or Roberto Gable: So it doesn't It's pretty The prototype as it is isn't sort of um fulfilling the Lonnie Hix: No may is maybe about Richard Robbins: Maybe Lonnie Hix: neutral Richard Robbins: a three. Lonnie Hix: plus it it it's got something, but it hasn't got Roberto Gable: Okay. Yeah. Bruce Jarvis: Well, wait a minute. In Richard Robbins: I Bruce Jarvis: thirteen Richard Robbins: would give Bruce Jarvis: point Richard Robbins: it Bruce Jarvis: seven Richard Robbins: more than Bruce Jarvis: we Richard Robbins: a four. Bruce Jarvis: do have kinetic. The problem is we have to reduce down from there to Lonnie Hix: Right. Bruce Jarvis: get it down to twelve point five. Lonnie Hix: Okay. Bruce Jarvis: 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. Roberto Gable: Right, Bruce Jarvis: And Roberto Gable: okay. Bruce Jarvis: if Lonnie Hix: 'Kay. Bruce Jarvis: 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 Roberto Gable that if you're going for the sample sensors speaker, you're basically then having to go for the cheaper options on everything else. Roberto Gable: Mm-hmm. Lonnie Hix: Okay. Bruce Jarvis: And Lonnie Hix: Um Bruce Jarvis: 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 Roberto Gable: S Bruce Jarvis: uh point two, Roberto Gable: I'm just gonna check my email. Bruce Jarvis: which would be come from the button supplements category. Roberto Gable: I'm just gonna check exactly what it said in the email for um the product. Richard Robbins: 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 Bruce Jarvis: Um, Richard Robbins: stand the Bruce Jarvis: interface Richard Robbins: test of time better. Bruce Jarvis: type um, well plastic rather than rubber. Roberto Gable: Okay. But I Bruce Jarvis: 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. Lonnie Hix: Mm-hmm. Richard Robbins: Mm-hmm. Bruce Jarvis: And that would enable you to to do it. Roberto Gable: Okay. Lonnie Hix: So it says if we make a slightly more fancy, then we lose points innovation, and if we make it more innovative innovative, Bruce Jarvis: Yeah. Lonnie Hix: then we lose Roberto Gable: Yeah. Lonnie Hix: points on Bruce Jarvis: Ye Lonnie Hix: it being fancy, so Roberto Gable: 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. Bruce Jarvis: Well, okay, but Richard Robbins: Well, I suppose it's rubber as it is, isn't it. Bruce Jarvis: It's rubber as it is, yes. Roberto Gable: bit or something, 'cause we've got both the both the um Bruce Jarvis: We Roberto Gable: the Bruce Jarvis: got we've Richard Robbins: Yeah. Roberto Gable: speech Bruce Jarvis: we've got thirteen point seven and we've got it in at the moment and if Roberto Gable: Yeah. Bruce Jarvis: and basically, we're going to reduce down from that. But the current one, you'd say would be fancy, would be too Lonnie Hix: Yeah, yeah. Roberto Gable: Yeah. Um, for for innovation, so we've got the speech the speech thing, and Bruce Jarvis: Mm-hmm. I would've said about a two as well. Roberto Gable: Do you reckon a two? Richard Robbins: Yeah, two or three. I'd be happy with a two. Roberto Gable: Okay. Bruce Jarvis: Oh. Roberto Gable: Two. And the next one is I'll have to get it back up now. Bruce Jarvis: 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. Richard Robbins: Yeah. Roberto Gable: Okay. Richard Robbins: Yeah, I would say so as well. Bruce Jarvis: Um, incorporates elements of fashion to attract buyer. Well, Lonnie Hix: Um Bruce Jarvis: yeah it certainly has some. Richard Robbins: Yeah, it's got the cherry Lonnie Hix: It does, yeah. Richard Robbins: and the Roberto Gable: Um Richard Robbins: sponginess. Bruce Jarvis: Yep. Roberto Gable: Say about a three maybe? Bruce Jarvis: I don't know. Lonnie Hix: Yeah, Richard Robbins: Maybe Lonnie Hix: m um Richard Robbins: two? Lonnie Hix: Yeah, it was just doing it quite well. Um, I Bruce Jarvis: Yep. Lonnie Hix: think we're gonna have to lose some of these, but the moment, as it stands, it's um Bruce Jarvis: Yeah, I Roberto Gable: It's Bruce Jarvis: woulda Roberto Gable: a Bruce Jarvis: said Roberto Gable: two. Bruce Jarvis: two would seem reasonable. The product is a recognisable real r uh Roberto Gable: Yeah, this Bruce Jarvis: reaction Roberto Gable: is Bruce Jarvis: product? Lonnie Hix: Uh Roberto Gable: This Lonnie Hix: 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 Richard Robbins: Yeah, that's Roberto Gable: Yeah. Lonnie Hix: where Richard Robbins: a bit Lonnie Hix: it Richard Robbins: rough Lonnie Hix: comes Richard Robbins: at the minute. Lonnie Hix: from. Roberto Gable: So this is about sort of the corporate Bruce Jarvis: Oh. Roberto Gable: image of like new sort of sleek technology and all that sort of thing, as well Lonnie Hix: Okay. Roberto Gable: 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. Richard Robbins: Uh, Roberto Gable: What Richard Robbins: well Bruce Jarvis: S Roberto Gable: do Richard Robbins: it's Roberto Gable: y Richard Robbins: got the same um speech feature as the coffee machine. Lonnie Hix: Also it's kind of spongy rubberiness is maybe bit more kinda comfortable than kinda sleek and new Roberto Gable: Yeah. Lonnie Hix: age. Um, Roberto Gable: Uh-huh. Lonnie Hix: it depends which way you look at it. Bruce Jarvis: Okay. So Roberto Gable: So Bruce Jarvis: we're going for a Lonnie Hix: Maybe a kind of Bruce Jarvis: two, Lonnie Hix: three? Uh d Roberto Gable: Two Bruce Jarvis: three? Richard Robbins: Yeah, Roberto Gable: or three? Richard Robbins: 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. Bruce Jarvis: Sure. Richard Robbins: But um, Roberto Gable: Yeah. Richard Robbins: I think the logo would definitely be recognisable. And it does have attributes that other products do. Two? Aye. Go for it. Bruce Jarvis: Right, Roberto Gable: Two Bruce Jarvis: okay. Roberto Gable: or three. Bruce Jarvis: Two. Roberto Gable: How Bruce Jarvis: Right, come on. Roberto Gable: Two. Bruce Jarvis: That's Roberto Gable: Okay. Bruce Jarvis: that decided. Right. So Roberto Gable: Right. Bruce Jarvis: So we're now on to changing it to get it to fit in with the budget requirements, and then Roberto Gable: Yeah. Richard Robbins: What does what do all them numbers mean then? Do we add them up and rate or anything? Roberto Gable: 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 Bruce Jarvis: About Roberto Gable: in my Bruce Jarvis: a two. Roberto Gable: head. Bruce Jarvis: Two. Roberto Gable: One point eight isn't it or something. I think, anyway. So yeah, pretty close to a two. Lonnie Hix: Yeah, Roberto Gable: So Lonnie Hix: so it's Roberto Gable: 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 Bruce Jarvis: Yep. Roberto Gable: try and make sure it doesn't get Lonnie Hix: So should Bruce Jarvis: Two Roberto Gable: too Bruce Jarvis: b Roberto Gable: bad. Bruce Jarvis: two b two, yeah. Lonnie Hix: we get So are definite Was it thirteen point seven was the definite price rule if has. Bruce Jarvis: Yes. Roberto Gable: Yeah. Lonnie Hix: Okay, so we need to Bruce Jarvis: Well, you can lose one point two and still meet Roberto Gable: Do you wanna Bruce Jarvis: the requirements. Roberto Gable: plug it into yours so we can get up the Bruce Jarvis: Okay, well I put it back Roberto Gable: the Bruce Jarvis: on. Roberto Gable: finances Lonnie Hix: So I guess this Is this the last stage once we sort out the finances part of it? Roberto Gable: I'm not sure. Richard Robbins: we'll probably have to re-rate it. Bruce Jarvis: Yes, I would've thought so. Lonnie Hix: Yeah, Roberto Gable: Yeah. Lonnie Hix: yeah we'll make the adjustments and then see how are rates are going. Bruce Jarvis: Okay, so what was it, control uh F_ eight, wasn't Richard Robbins: Ah Bruce Jarvis: it? Richard Robbins: it's on. Roberto Gable: it's come on already. Bruce Jarvis: 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. Lonnie Hix: Oh actually we just have a plastic case, then we lose two Bruce Jarvis: That's Lonnie Hix: points, Bruce Jarvis: right. Lonnie Hix: which gets us um Roberto Gable: Mm. Bruce Jarvis: Which gets you Lonnie Hix: In right within the budget range. Bruce Jarvis: Yes. Richard Robbins: Yeah, I think that'd be fine. Because that was just a trend, and we do have rubber buttons anyway. Lonnie Hix: So that's eleven point Roberto Gable: Yeah. Lonnie Hix: seven, and then we could make sure we definitely had all the button supplements. Roberto Gable: Different Bruce Jarvis: Alright. Roberto Gable: 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 Lonnie Hix: Possibly, Roberto Gable: sort of you Lonnie Hix: yeah. Roberto Gable: know sleeker plastic case. Lonnie Hix: Um Richard Robbins: Yeah. Bruce Jarvis: Okay, Lonnie Hix: And that would Bruce Jarvis: so Lonnie Hix: allow us to have all the technical innovations. So we'd lose a little bit on the maybe kind of Bruce Jarvis: So we're going for plastic, yes? Roberto Gable: Lose a little bit on the fashion, yeah, but Bruce Jarvis: Yep. Lonnie Hix: Oh Roberto Gable: And Lonnie Hix: yeah, Roberto Gable: then Lonnie Hix: 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? Bruce Jarvis: Well, uh w uh there was debate as to how you would count them. Lonnie Hix: Um Bruce Jarvis: You got special colour. Well originally I was assuming we had the red apple, and therefore, that was the special colour. Richard Robbins: Yeah, I think we should just imagine white buttons. Lonnie Hix: And we we've we've got we've got enough for another Roberto Gable: Yeah. Lonnie Hix: we've got nought point eight left, so we've got enough for Bruce Jarvis: Well, Lonnie Hix: another Bruce Jarvis: 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 Lonnie Hix: Yeah, um Bruce Jarvis: So so no matter Lonnie Hix: But the Bruce Jarvis: how you Lonnie Hix: but Bruce Jarvis: look at that, that would be the same. The other Lonnie Hix: but Bruce Jarvis: thing would Lonnie Hix: but Bruce Jarvis: then Lonnie Hix: the Bruce Jarvis: be special material, rubber, wood, titanium. Lonnie Hix: I think maybe the special colour, we've got three now just because the Roberto Gable: Yeah. Lonnie Hix: volume buttons are different, I guess we'd have the ones which are blue at the moment Bruce Jarvis: Alright. Lonnie Hix: would would just be Bruce Jarvis: So, Lonnie Hix: the standard Bruce Jarvis: special Lonnie Hix: colour. Bruce Jarvis: colour, you want three in there. Lonnie Hix: Yeah, which I think we should Yeah, they'll still be fine for the for the price. Bruce Jarvis: Okay. Roberto Gable: 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. Bruce Jarvis: That makes sense. Lonnie Hix: Okay, Roberto Gable: Okay. Lonnie Hix: uh Richard Robbins: Yeah. Lonnie Hix: that's probably it. Roberto Gable: So we only ne we only need two for that. Bruce Jarvis: Okay. Roberto Gable: '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 Bruce Jarvis: Okay. Roberto Gable: it. Bruce Jarvis: Yeah, I would agree with that, I think. So special colours, two. Roberto Gable: Right. Bruce Jarvis: 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? Lonnie Hix: Ne Bruce Jarvis: Was that the Lonnie Hix: uh Bruce Jarvis: idea? Richard Robbins: Yeah, the volume ones should Lonnie Hix: Maybe Richard Robbins: stand Lonnie Hix: that'll be Richard Robbins: out Lonnie Hix: a Richard Robbins: a bit. Lonnie Hix: second supplement. Roberto Gable: Yeah, Lonnie Hix: Then there's Roberto Gable: that Lonnie Hix: a spe a second special form. Bruce Jarvis: Uh-huh. Roberto Gable: Yeah. Bruce Jarvis: I Lonnie Hix: Um Bruce Jarvis: would have thought that's probably about r Lonnie Hix: Well you got you got twelve. Bruce Jarvis: well. Roberto Gable: Okay, so tha Lonnie Hix: So I think that should still be okay. Yeah, Bruce Jarvis: Right. Lonnie Hix: that's twelve point three, so we're still within budget on that. Bruce Jarvis: Yep, that Lonnie Hix: Um Bruce Jarvis: makes sense. Lonnie Hix: So decide we've lost a little bit on the fashion and lost a bit on the fancy kinda Bruce Jarvis: Yep. Lonnie Hix: side of it, but generally speaking, we've kept the other attributes to the Bruce Jarvis: I woulda said so. Yeah. So you'd maybe put fash fan uh Lonnie Hix: That's Bruce Jarvis: fashion Lonnie Hix: without Bruce Jarvis: at three rather than Roberto Gable: So shall we do Lonnie Hix: Yeah. Roberto Gable: a Bruce Jarvis: two. Roberto Gable: Well, um Lonnie Hix: And specially it definitely could fits the the real product What was the what's the company name? Richard Robbins: Real Reactions? Bruce Jarvis: Real Lonnie Hix: R yeah. Bruce Jarvis: Reaction produ Roberto Gable: Yeah. Lonnie Hix: Yeah, Bruce Jarvis: I'm not quite sure, what Lonnie Hix: yeah. Bruce Jarvis: does that mean? Lonnie Hix: I mean it still seems definitely fit that p so that's like if that's the new age kind of um inno innovative Roberto Gable: Yeah, so Lonnie Hix: c type company, then um having the kinetic feature and the voice recognition Roberto Gable: Uh Lonnie Hix: is Bruce Jarvis: Yep Lonnie Hix: p quite high up Roberto Gable: So Lonnie Hix: on Roberto Gable: it's Bruce Jarvis: I Roberto Gable: w if we've Bruce Jarvis: would Roberto Gable: if Bruce Jarvis: s Roberto Gable: 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 Lonnie Hix: Um Roberto Gable: would be poss Bruce Jarvis: You mean of Roberto Gable: 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 Lonnie Hix: Mm-hmm. Roberto Gable: know. Bruce Jarvis: Well you could argue you might do it once a year, you would change, because at the moment you're making a red apple. Lonnie Hix: Yeah Roberto Gable: Well you Lonnie Hix: so Roberto Gable: could Lonnie Hix: it's Bruce Jarvis: So Lonnie Hix: a Bruce Jarvis: next year you could make next year's model the same, but have it as a Roberto Gable: Yeah. Lonnie Hix: Whatever fruit Bruce Jarvis: a Lonnie Hix: was in Bruce Jarvis: yeah Lonnie Hix: fashion Bruce Jarvis: whate Lonnie Hix: next Bruce Jarvis: whatever, Lonnie Hix: year. Bruce Jarvis: a lemon. Yeah, l a lemon lemon or something. Roberto Gable: Yeah, Bruce Jarvis: And Roberto Gable: I mean Bruce Jarvis: that Roberto Gable: the volume buttons could be lemons or something, maybe. Bruce Jarvis: amount Roberto Gable: Okay. So, we've what have we what have we rid of. We got rid of the plastic. Bruce Jarvis: Yeah, we've the Roberto Gable: Is Bruce Jarvis: main Roberto Gable: it Bruce Jarvis: thing we've Lonnie Hix: That Bruce Jarvis: changed Roberto Gable: The Lonnie Hix: yeah, Roberto Gable: rubber. Lonnie Hix: that was Bruce Jarvis: really Lonnie Hix: uh Bruce Jarvis: is Lonnie Hix: that Bruce Jarvis: the casing isn't it? Lonnie Hix: was Bruce Jarvis: We've Roberto Gable: Yeah. Lonnie Hix: 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. Roberto Gable: Yeah. Lonnie Hix: Um Roberto Gable: But uh Lonnie Hix: 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. Roberto Gable: 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, Lonnie Hix: Yeah. Roberto Gable: maybe. So, I mean we could maybe put two again on them. Lonnie Hix: And everything else has stayed pretty much the same, Bruce Jarvis: Well, Lonnie Hix: so Bruce Jarvis: ease has certainly stayed. Lonnie Hix: Yeah, plus if anything Roberto Gable: Yeah. Lonnie Hix: that is special forms makes it slightly easier to Bruce Jarvis: Yeah. Roberto Gable: Yeah. Lonnie Hix: to use. Roberto Gable: And what about the sort of innovation? Lonnie Hix: Um, Roberto Gable: Do you think Lonnie Hix: well we've still got the kinetic energy. Um Roberto Gable: Okay. Bruce Jarvis: And the speech feature. Lonnie Hix: Yeah, the speech feature. Roberto Gable: And then, the corporate identity. Lonnie Hix: 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 Bruce Jarvis: How Lonnie Hix: casing Bruce Jarvis: it would play Lonnie Hix: would really Bruce Jarvis: out, Lonnie Hix: affect Bruce Jarvis: yeah. Roberto Gable: Yeah. Bruce Jarvis: Oh. Roberto Gable: Whether whether that's considered to be sort of part of the corporate identity, I don't know. I mean, Lonnie Hix: Um Roberto Gable: it's maybe not. I mean Lonnie Hix: But I think more the the features of the actual control will be more important than maybe than the Roberto Gable: Yeah. Lonnie Hix: the actual aesthetics, but Roberto Gable: Yeah. Lonnie Hix: But either way, I think we've made it fairly close to what Roberto Gable: Yeah. Okay, Richard Robbins: Yeah, Roberto Gable: well I Richard Robbins: I Roberto Gable: mean Richard Robbins: don't see how we could make it any more. Um, Roberto Gable: We cou Richard Robbins: apart from maybe doing the whole thing in the kinda light shade of blue, like the casing. Roberto Gable: Mm-hmm. Richard Robbins: But then what colour would you make the R_s? Lonnie Hix: just the the company logo. So maybe there's like a set design which we get Bruce Jarvis: Well, Roberto Gable: Yeah. Bruce Jarvis: but Lonnie Hix: printed Bruce Jarvis: you've got Lonnie Hix: off. Bruce Jarvis: the company logo on there, which would effectively be a stick-on badge. Lonnie Hix: Okay. Bruce Jarvis: So you're in a sense, you're comparing the product without the company logo. Roberto Gable: Yeah. Bruce Jarvis: And then y but you've got the space for it Lonnie Hix: Yeah, Bruce Jarvis: to stick Lonnie Hix: yeah. Bruce Jarvis: it on. Roberto Gable: Hey, what what what's the company colour? Did you get told what the company colour is or Lonnie Hix: I'm still not quite sure we've established that. Richard Robbins: No, I just Bruce Jarvis: Don't think Richard Robbins: We Bruce Jarvis: so. Richard Robbins: got Bruce Jarvis: But Richard Robbins: the logo Bruce Jarvis: but Richard Robbins: off the Bruce Jarvis: i Richard Robbins: web Bruce Jarvis: but Richard Robbins: browser. Bruce Jarvis: in the sense that, as you saw Roberto Gable: Oh Bruce Jarvis: with Roberto Gable: right. Bruce Jarvis: 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 Roberto Gable: Hmm. Bruce Jarvis: colour it is, so long as our company's logo is framed w in the same way as that with a Roberto Gable: Mm-hmm. Bruce Jarvis: like a black outline. Fact, they've got black and white or black and silver. So Roberto Gable: Mm. Bruce Jarvis: 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 Roberto Gable: Okay. Bruce Jarvis: that's actually quite a sneaky way of doing it. Roberto Gable: Uh-huh. 'Cause you've got sort of we've got point two to play with if you really wanted to. Bruce Jarvis: You could put in another Roberto Gable: Another colour. Or Bruce Jarvis: Well, Roberto Gable: would that Bruce Jarvis: in Roberto Gable: be Bruce Jarvis: this Roberto Gable: t Bruce Jarvis: one, you've actually got three colours of buttons. Roberto Gable: Yeah. Bruce Jarvis: Well, we decided that the blue ones were the um the standard colour. Roberto Gable: Okay. Bruce Jarvis: 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. Lonnie Hix: Yeah. Roberto Gable: Yeah. Richard Robbins: Mm-hmm. Bruce Jarvis: Which m may or may not be the case. Roberto Gable: Yeah. Shall Lonnie Hix: Um Roberto Gable: we save the point two for profitability then? Bruce Jarvis: 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? Richard Robbins: 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. Lonnie Hix: Yeah, maybe Richard Robbins: Needs Lonnie Hix: we've Richard Robbins: to be Lonnie Hix: m Richard Robbins: an enter button, but could just be the same as well. Lonnie Hix: Maybe for the the one they're gonna see all the time, we make it look good, and um, Roberto Gable: Hmm. Lonnie Hix: 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. Roberto Gable: Yeah. I mean it's the sort of thing that, I mean, you wanna pick up the controller and just hit a button quickly Bruce Jarvis: Yeah, Roberto Gable: to Bruce Jarvis: well Roberto Gable: 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. Bruce Jarvis: Alright. Okay. Roberto Gable: 'Cause you Yeah. Lonnie Hix: Yeah. Bruce Jarvis: So Roberto Gable: So Bruce Jarvis: we just add that to profitability in effect. Roberto Gable: Yeah, I mean so Richard Robbins: Mm-hmm. Roberto Gable: we've dropped the cost, but Bruce Jarvis: Right, so we're meant to finish up in five minutes. Roberto Gable: Same sort of function? The criteria? It's alright. Lonnie Hix: 'Kay. Roberto Gable: Just made a load of money. Richard Robbins: 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. Roberto Gable: 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. Richard Robbins: Alright. Roberto Gable: le lemon Richard Robbins: Did we Roberto Gable: sh Richard Robbins: decide what that was, which button it was? Roberto Gable: I think well, Richard Robbins: On the volume ones? Roberto Gable: we could have lemon shaped ones with the volume ones or something. Richard Robbins: Right. Lonnie Hix: Uh, Roberto Gable: Or something like Lonnie Hix: That's Roberto Gable: that. Lonnie Hix: good. Roberto Gable: Yeah. Lonnie Hix: Definitely lemon shaped. Roberto Gable: Did did you have to have a rubber case, though, for rubber buttons? Or was it the other way around? Lonnie Hix: You had to have rubber buttons if you had the rubber case. Roberto Gable: Right, Bruce Jarvis: Mm-hmm. Roberto Gable: okay. Lonnie Hix: So I think we can we're Bruce Jarvis: So Lonnie Hix: okay. Bruce Jarvis: we're okay this way around. Roberto Gable: Yeah. So that so we've Bruce Jarvis: Until Roberto Gable: saved Bruce Jarvis: the design team comes in and says, get off. But you are the design team. Lonnie Hix: Then we say it's fine, so it's all good. Roberto Gable: Saved two Euros on that. Bruce Jarvis: So what bit are we on to? Richard Robbins: 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 Bruce Jarvis: Yeah. Richard Robbins: a cherry officially? Bruce Jarvis: I th Roberto Gable: Mm-hmm. Bruce Jarvis: I th Oh. Right, okay. Lonnie Hix: Just in case we need that point two for lawsuits and such like. Bruce Jarvis: Oh drats, I've botched that, haven't I. Richard Robbins: So were we aiming for a certain target on that scale? Roberto Gable: Well, we're aiming for um one for all of them. M but Richard Robbins: Right. Roberto Gable: 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. Lonnie Hix: And we seem to have least something in each criteria. Roberto Gable: Yeah. Lonnie Hix: We haven't completely left anything out, so Roberto Gable: Yeah, I think most Lonnie Hix: As an overall product which has to be quite cheap, we've just about achieved Roberto Gable: Yeah. Lonnie Hix: everything. Roberto Gable: Yep. Richard Robbins: So do we have anything else to discuss? Roberto Gable: I don't know. What's on the agenda? Bruce Jarvis: Right, okay um What's happened here? Bruce Jarvis: Right, okay um Bruce Jarvis: Mm. Right, okay um, Right. So we got Lonnie Hix: We've got the Bruce Jarvis: So Lonnie Hix: closing. Bruce Jarvis: 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 Roberto Gable: Uh-huh. Bruce Jarvis: m my understanding of it. So what did you and remembering that nobody's just over the curtain. So, um Roberto Gable: Finish your meeting now. Lonnie Hix: We should just go through Richard Robbins: Huh. Lonnie Hix: this quickly and then Roberto Gable: Yeah. Bruce Jarvis: So I suppose the easiest way of doing it is to put some notes down, which I will do. Roberto Gable: Okay. Bruce Jarvis: So, uh I think I have to finish that page. Roberto Gable: Oh. Bruce Jarvis: Right, okay, so Bruce Jarvis: Project evaluation. So, um Creativity. Did you feel you got a chance to express yourselves well enough? Lonnie Hix: Um, yeah. Richard Robbins: Yeah. Bruce Jarvis: Well Lonnie Hix: Yeah. Bruce Jarvis: um Roberto Gable: I thought some of the divisions though between sort of the individual meetings were a bit arbitrary. Bruce Jarvis: Individual meetings. How do you mean? Roberto Gable: Yeah. Well, we were finding out various things in Bruce Jarvis: In you on your own. Roberto Gable: 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, Bruce Jarvis: Um Roberto Gable: 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. Bruce Jarvis: 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. Roberto Gable: Yeah. Bruce Jarvis: Then you go away. You find out information. You then come back. You then discuss it. You then Roberto Gable: Uh-huh. Bruce Jarvis: go and change things around, and then go back. Roberto Gable: Yeah. Bruce Jarvis: So Lonnie Hix: Yeah, I suppose and then be going out and finding more information each time and Bruce Jarvis: Whereas, Lonnie Hix: then diff Roberto Gable: Yeah. Lonnie Hix: things will Bruce Jarvis: this Lonnie Hix: be relevant. Bruce Jarvis: time, you're really getting it from a database source, so it's not Roberto Gable: Yeah. Bruce Jarvis: 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. Roberto Gable: Yeah. Richard Robbins: I think it maybe could have been a slightly more creative project. I mean a remote control isn't the most um Roberto Gable: Yeah, the thing Richard Robbins: kind Roberto Gable: itself. Richard Robbins: of fancy thing Bruce Jarvis: Um Richard Robbins: that you could imagine designing. Roberto Gable: Yeah. Richard Robbins: at the minute. Bruce Jarvis: Have could have used a different example pel to increase Roberto Gable: Yeah. Lonnie Hix: Is this go Bruce Jarvis: create Lonnie Hix: It kinda kis fits the purpose that it was something everyone knows about and then Bruce Jarvis: Creativity. Lonnie Hix: something we can at least look at and think Roberto Gable: Mm-hmm. Lonnie Hix: how we Bruce Jarvis: You Lonnie Hix: can improve Bruce Jarvis: have to do it Lonnie Hix: on. Bruce Jarvis: within a set time frame is the other thing, so Roberto Gable: 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, Lonnie Hix: one of those things. Roberto Gable: fifteen Lonnie Hix: Like uh, Roberto Gable: quid. Lonnie Hix: companies can have like a range of products and Bruce Jarvis: I th Lonnie Hix: I don't know how it works Bruce Jarvis: I uh Lonnie Hix: but Bruce Jarvis: d Lonnie Hix: I guess that something got sent out and have like a brief to kind of Bruce Jarvis: 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 Roberto Gable: Yeah. Bruce Jarvis: 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 Roberto Gable: Mm-hmm. Bruce Jarvis: 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 Roberto Gable: Hmm. Bruce Jarvis: of course, you had the Lonnie Hix: Yeah. Bruce Jarvis: machine crashing and various things going wrong. Lonnie Hix: Well, Roberto Gable: Mm-hmm. Lonnie Hix: sh we look at Bruce Jarvis: So Lonnie Hix: the last slide, see if it's got anything else. I think Bruce Jarvis: Alright, Lonnie Hix: there's one Bruce Jarvis: so we've got Lonnie Hix: one more Bruce Jarvis: uh Lonnie Hix: to go. Roberto Gable: 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. Bruce Jarvis: New Roberto Gable: And Bruce Jarvis: ideas found, did we find any, no. Lonnie Hix: It was quite good with this um the white board, having that and the digital pens. Like, that's something Bruce Jarvis: Alright. Lonnie Hix: that made Roberto Gable: Yeah. Lonnie Hix: it a little easier. Roberto Gable: Yeah. Bruce Jarvis: Leadership, teamwork. Roberto Gable: 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 Bruce Jarvis: Does Lonnie Hix: voice recognition, especially not could Roberto Gable: Mm yeah. Bruce Jarvis: You've got voice recognition computers, that's Lonnie Hix: Yeah. Bruce Jarvis: not remote controls. Roberto Gable: Yeah. Richard Robbins: Well it's a different application of it. Bruce Jarvis: Mm-hmm. Lonnie Hix: Yeah, Bruce Jarvis: Okay, Lonnie Hix: so it's just like the same products, but just put together in a different way. Roberto Gable: Mm. Bruce Jarvis: so how do you reckon teamwork went? Lonnie Hix: Um Roberto Gable: That went okay, yeah. Lonnie Hix: Yeah, I guess we all had separate ideas and then discussed them. Roberto Gable: Mm-hmm, Richard Robbins: Yeah. Roberto Gable: yeah. Bruce Jarvis: To uh go uh reasonably well. Okay. Roberto Gable: I don't think sort of the budget um allowed Bruce Jarvis: Bit Roberto Gable: us to do anything Bruce Jarvis: bit arbitrary. Roberto Gable: 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, Bruce Jarvis: Mm-hmm. Roberto Gable: 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 Bruce Jarvis: So, Roberto Gable: they they should produ Bruce Jarvis: we're m we're meant to comment on leadership and the means, E_ G_ whiteboard, digital pens, et cetera. Richard Robbins: Well leadership's Bruce Jarvis: And Richard Robbins: a bit Bruce Jarvis: and Richard Robbins: of a funny Bruce Jarvis: new Richard Robbins: one, Bruce Jarvis: i new Richard Robbins: isn't Bruce Jarvis: ideas Richard Robbins: it. Bruce Jarvis: found was the the other thing. Roberto Gable: Yeah. Richard Robbins: But we can't really all fairly comment on leadership because you are Bruce Jarvis. You were the leader. So our experience of leadership wasn't really as Roberto Gable: Yeah. Richard Robbins: much as yours. Roberto Gable: Yeah. Bruce Jarvis: 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. Roberto Gable: Yeah. It worked. Richard Robbins: Yeah, Roberto Gable: Comput Richard Robbins: very nice. Roberto Gable: computers could be a bit difficult at times but Richard Robbins: 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 Roberto Gable: I Richard Robbins: the Roberto Gable: think Richard Robbins: computer or something? Roberto Gable: there's a little there's a little um Lonnie Hix: So Roberto Gable: chi Lonnie Hix: it's not just for us, it's for the experiment as a whole, so Roberto Gable: There's a little there's a little chip, I think you must plug Lonnie Hix: Should Roberto Gable: it into Lonnie Hix: we quickly Roberto Gable: something Lonnie Hix: look at Roberto Gable: and Lonnie Hix: the last Roberto Gable: it Lonnie Hix: slide? Roberto Gable: produces Lonnie Hix: Sh Richard Robbins: Right. Roberto Gable: a Richard Robbins: I think you watch a video of it kind of. Roberto Gable: I don't know. Whether it just produces a big image of sort of everything you've written or something, and Page Bruce Jarvis: Right. Roberto Gable: after page. Bruce Jarvis: New ideas found, so one or two. Roberto Gable: Yeah. Kinetic powered remote control. Um, what was the other one? Richard Robbins: Voice um Roberto Gable: Vo yeah. Richard Robbins: recognition thing. Bruce Jarvis: um and uh voice uh, was it voice activated um Roberto Gable: Voice recognition, yeah. Bruce Jarvis: recognition. Roberto Gable: S Roberto Gable: Almost. To Richard Robbins: Pretty much. Roberto Gable: fill in these fill in these Bruce Jarvis: Right, Roberto Gable: questionnaires Bruce Jarvis: so, Roberto Gable: Oh Bruce Jarvis: uh Roberto Gable: no. Bruce Jarvis: are the costs within budget, yes. Is the project evaluated, yes. Uh, don't forget to complete final questionnaire and meeting summary. Then celebration. Lonnie Hix: Is that Roberto Gable: Hmm? Lonnie Hix: everything? Roberto Gable: I think that we've got two questionnaires and a Bruce Jarvis: Yeah. Roberto Gable: report on the last meeting. Bruce Jarvis: 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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Frederick Maddox: Okay. Yeah. That's okay. That's okay. Frederick Maddox: Okay. Brian Dvorak: Am I starting now? Anytime? Oh sorry 'Kay. um. Alright, welcome back fro to the second meeting. And um I hope you had a productive last thirty minutes. Um, and um, I'll be taking minutes on this one, and um Being hooked up to the PowerPoint for this meeting isn't very necessary for uh myself, because it'll be more about uh, what you guys are bringing to the meeting today. Um, so, the first presentation we'll be looking at is Poppy's presentation And. um So, sorry? So, um, take it away Poppy. Frederick Maddox: Okay. Um, do I need to Brian Dvorak: It's, it's plugged in. So, Frederick Maddox: plugged Brian Dvorak: um Frederick Maddox: in. Ryan Helm: F_ eight, w. Function F_ Frederick Maddox: F_ Ryan Helm: eight Frederick Maddox: okay. Function F_ eight. Sorry about this guys. Brian Dvorak: No problem. Frederick Maddox: 'Kay. is on. Right. Okay. I will take this time just to apologise. I, I only, uh, received my emails later on. 'Cause I was too busy carried away doing my own thing, which is not obviously not a very good part of a team-working thing. But there we go. Brian Dvorak: I'm sure it's fine. Frederick Maddox: Um, so I was looking at how we're going to go about the working design, and what we actually need to do, and what the remote control needs to do. And it needs to um allow a person to have a portable desi device, so they can control the television from wherever they are. They don't need to actually manually touch the television set. So, it gives them much more flexibility, and allows them to be where they want to be. Um, from Uh, on a functional side of things, we found out that wh from our previous meeting, we decided that there're certain points that will make our product unique. Um, one is the visibility in the dark, which was um Genevieve's idea. So we need to think about how we could bring this in um technically. And we could use illuminated buttons, which we are all familiar with when we're using a mobile phone, or um something fam familiar. A automatically, um lights up at first touch. Or we could use fluorescent materials which would just um take in the light during the day, and then as soon as they go off they would glow in the dark. Um, also we could use um an alarm. So if we lost the um remote control, perhaps there could be a button on the television set itself, which you could press, and then an alarm from the handset would sound where it was, hopefully in the room. Maybe behind a cushion or somewhere. Um, so that would work. Um, oop. Go back there. Um, another thing I think we d missed out on on the last meeting was the fact that we should consider the environmental impact of our design. Um, from previous researches I've carried out on other projects, um we've learnt about smart materials where um um specific alloys of metals have a shape memory. So they can be heated and um and cooled, and they change the shape of um the metal. So, for example, a screw that's holding something together could expand and it would force all the components apart. So um, the benefits of this for our product would be that when it came to the end of its product life, if it was heated, um everything would spring apart. So, all the um individual components could be easily separated, and then some could be reused, some could be recycled, and I think that would be very important for products now. Especially 'cause there's much uh responsibility for all the um companies who are coming up with like new designs. 'Cause all, we all know that our resources are being limited, and we have to be very environmentally conscious. Brian Dvorak: Right, um, one question. Frederick Maddox: Yeah. Brian Dvorak: This, um, self-destructible uh metal, it allows for recycling materials? Frederick Maddox: Um Brian Dvorak: So that, um, someone could have this product for as long as they felt that they wanted it, and then once Frederick Maddox: And then Brian Dvorak: they contribute it, then that company can break Frederick Maddox: Yeah. Brian Dvorak: down the part, the parts better? Frederick Maddox: Yeah they would, um you would make the, the product as you normally would, apart from the, the bits that hold it all together would be made out of this shape-memory alloy. And that's the part that would um allow all the other parts to be separated at the end. I mean, the user would return the p product to the company, 'cause it's the product's responsibility to get rid of what they've made. Um, and then the company could then just use, make use of this shape-memory alloys to split up the components, Brian Dvorak: Yeah. Frederick Maddox: and then either reuse some bits, and other bits which are obviously gonna wear out with time, or not usable, they might be like be able to put into scrap metal. Something like the case, if it's scratched or something, you would want to reuse it, but you might be able to melt it down and Brian Dvorak: Mm-hmm. Frederick Maddox: reuse it again somewhere else. Brian Dvorak: Would we be the company that would break down these, or uh metals? Or would Frederick Maddox: You Brian Dvorak: we Frederick Maddox: could we could probably Brian Dvorak: contribute Frederick Maddox: empl Brian Dvorak: to another Frederick Maddox: em Brian Dvorak: group? Frederick Maddox: employ a, a side company or something to do that for us. But it would be our responsibility to get that done and to dispose of the products that we made. For a certain percentage at least. Brian Dvorak: Alright. Frederick Maddox: Not every, not a hundred percent of everything we produce, Brian Dvorak: Okay. Frederick Maddox: but Brian Dvorak: This sounds like a really great idea. One thing we have to consider is our uh one hundred percent um turnover goal that we have Frederick Maddox: Yeah. Brian Dvorak: for our financial Frederick Maddox: Yeah. Brian Dvorak: sector. Um, so we'll have to investigate how much that will cost Frederick Maddox: Yeah. Brian Dvorak: us, cost the company, um 'cause it sounds very labour-intensive. You would have to hire a number of people, and it might be more expensive. Frederick Maddox: Well I the fact of the shape-memory alloys is that they, they don't need to be manually de um deconstructed. Like, you don't have to individually um unscrew all the screws. Because of this, their properties are smart material. All Brian Dvorak: Mm-hmm. Frederick Maddox: you need is just the heat, so they self-destruct themselves. Brian Dvorak: Alright. Frederick Maddox: So Brian Dvorak: We'll still Frederick Maddox: I Brian Dvorak: have Frederick Maddox: suppose Brian Dvorak: to investigate Frederick Maddox: it does need Brian Dvorak: the Frederick Maddox: like Brian Dvorak: financial Frederick Maddox: high Brian Dvorak: implications. Frederick Maddox: contact, yeah, you know high uh quality machinery, and very specific machinery, but Brian Dvorak: Alright. I like the environmental approach. Um, Frederick Maddox: Yeah. Brian Dvorak: we'll have to see if that can meet our financial Frederick Maddox: Okay. Brian Dvorak: goals as well. Frederick Maddox: Um also there is um components. This'll be how it uh will actually work. But I haven't put this plan together yet. Brian Dvorak: I'm Frederick Maddox: There Brian Dvorak: sorry, Frederick Maddox: we Brian Dvorak: could Frederick Maddox: go. Brian Dvorak: you Frederick Maddox: Sorry, should I go Brian Dvorak: Those Frederick Maddox: back. Brian Dvorak: were um Frederick Maddox: show the circuit diagram. Although I haven't come up with the final circuit yet. Brian Dvorak: Okay. Frederick Maddox: So I just put all those components in. Brian Dvorak: So those are what, um, we'll c construct the remote. Those Frederick Maddox: Yeah. Brian Dvorak: are all the Frederick Maddox: I it just shows what sort of energy source. It could be a battery, like rechargeable probably. Um, an' yeah, well how the infrared will actually be sent through the chip to be received by the chip on the television set itself. Brian Dvorak: Alright. Great. Frederick Maddox: Okay? So, now is it F_ eight again to escape? Or escape? There we go. Okay. Brian Dvorak: Alright. Thank you very much. Frederick Maddox: Thank you. Brian Dvorak: And, um, the next presenter will be Tara. Frederick Maddox: There you go Tara. Ryan Helm: Thanks. Can you see? Jack Kondo: Oh, Ryan Helm: Do you think Is it uh, function eight yeah? Brian Dvorak: Yeah. Frederick Maddox: Function Jack Kondo: Function F_ Frederick Maddox: F_ Brian Dvorak: Function Jack Kondo: eight Frederick Maddox: eight. Brian Dvorak: F_ eight. Sorry. Frederick Maddox: The one at the top. Ryan Helm: Oh right. Okay. Jack Kondo: That looks right. Brian Dvorak: Yeah. Ryan Helm: Okay. I'm the User um User Interface Designer. Uh, the technical functions design of the apparatus is the effect the apparatus should have. Um, in this case it's the function of the remote control, which is to send messages to the television, television set. By inspiration from other similar designs we'll try and come up with an original There're two functional design options. A multifunctional remote control, which can be used for several entertainment devices. And a single function remote control, used specifically for the television. Jack Kondo: I'm sorry, what was that last one. Multifunctional and Ryan Helm: Sorry. Um, a single function just for the television itself. Jack Kondo: Ch Oh, I see. Ryan Helm: Yeah. Um, multifunctional controls can be difficult to use, as the multitude of buttons can be confusing. A single function remote control is simpler to use, but it means you have to have other remote controls for your other entertainment devices. Jack Kondo: 'Kay. Ryan Helm: Um, I think that a single function remote control would be preferable, because it's easier to use. It'd be more compatible with a range of television sets, making it more internationally sellable. Um, it will make an original design more obtainable, as we have less functional necessities to include in the design. And it would be more profitable as it would be more simplistic. And less functions would have to be included. So it would be cheaper to make. And probably more sellable just because it's more compatible with a r a wider range of devices. Does anyone have any questions? Jack Kondo: So as far as we know, um, a single function television remote control is us usable internationally? Ryan Helm: Well, it's just that, when we're creating it, we're, we have to make it um compatible with different brands of devices. Jack Kondo: Right. Ryan Helm: And it would be easier to make it compatible with just different brands of television devices rather than other Jack Kondo: D_V_D_s Ryan Helm: ent, Jack Kondo: and V_C_R_? Ryan Helm: yeah, Jack Kondo: Okay. Brian Dvorak: Right. Ryan Helm: other entertainment devices. Brian Dvorak: Does everyone agree with this? Does anyone object and, and find the multifunctional might be a better way to go? Frederick Maddox: Um, I was just wondering about the, what, what Genevieve said before, about having like some hidden controls like having the outer casing. And that would probably, um, I d, well well what you said before about it being a more profitable simplistic design. I suppose Ryan Helm: Yeah. Frederick Maddox: having that would complicate it a lot more. Ryan Helm: Yeah. Frederick Maddox: And limit the design. Do you think? Jack Kondo: Yeah, I think I agree with the single design thing for now, because we're trying to do so much, that if we're trying a unique user-friendly, Frederick Maddox: Yeah. Jack Kondo: dadada, also multi also multifunctional, um, we're gonna go over budget for one thing. So Ryan Helm: Yeah. Frederick Maddox: Yeah. That's true. Ryan Helm: Yeah. Brian Dvorak: Mm-hmm. Frederick Maddox: Yeah. Ryan Helm: And with this we'll have more room in the budget probably to make a more original design. Frederick Maddox: Yeah. Jack Kondo: Mm-hmm. Ryan Helm: We'll have more money to Brian Dvorak: Yeah. Ryan Helm: go into the design side of it. Frederick Maddox: Okay. Yeah. Brian Dvorak: Alright. Sounds great. Jack Kondo: Mm, 'kay. Brian Dvorak: Alright, well, um, are you ready for your presentation Genevieve? Jack Kondo: Yes I am. Brian Dvorak: Fabulous. Except you're not Jack Kondo: Oh, Brian Dvorak: hooked Jack Kondo: I'm Brian Dvorak: up to the Jack Kondo: not hooked up, but other than that, completely ready. Brian Dvorak: Great. Jack Kondo: Okay. Jack Kondo: Okay. Oh. I just lost my microphone. Brian Dvorak: No Jack Kondo: Just Brian Dvorak: problem, Jack Kondo: a moment. Brian Dvorak: we can Jack Kondo: Okay. So I'll be discussing the functional requirements of this remote control. Um, and I'll give you a little briefing on what that means exactly. Um, if you all remember from the email we got before our very first uh kick-off meeting, with the coffee machine? The functional requirements of that was to produce hot coffee quickly. Um, so what I'll be talking about now is the equivalent for a remote control. Um, so basically what needs and desires are to be fulfilled. Um, I've done some marketing research, a lot of interviews with remote control users, um, and some internet research. And I'll show you my findings. Oh, and firstly I wanted to remind you about our company motto and purpose. So we believe in providing international market with fashionable products. Um, hence our motto, we put the fashion in electronics. So I think that should be our priority here. Um, and we should also be looking to trends in clothing and interior design. Not just in electronic fashion. So that it's something that fits in the household. Brian Dvorak: I'm sorry, what was that last thing that you just said? Jack Kondo: Um, we should be looking towards trends in both clothing and interior design. Brian Dvorak: Mm-hmm. Jack Kondo: Any trends that are going on in, in Frederick Maddox: Mm. Jack Kondo: the public, even media, you know who's famous, what T_V_ shows are being Frederick Maddox: Yeah. Jack Kondo: watched, um, to influence our remote control. Okay, so the findings. Um, seventy five percent of users of remote controls find them ugly. Which is a, quite a significant number. Um, the other twenty five percent didn't specify if they love them or found them, you know, neutral. Eighty percent of users would spend more money when a remote control would look fancy. Current remote controls do not match well the operating behaviour of the user. Brian Dvorak: I'm sorry, that eighty percent of users would spend more money when a remote control would look fancy. You mean that they would spend more money on a fancy-looking Jack Kondo: Yeah, they're willing, Brian Dvorak: remote control? Jack Kondo: they're willing to spend money on a remote control with personality. As Brian Dvorak: Okay. Jack Kondo: opposed to your basic, you know, oval Frederick Maddox: Mm. Jack Kondo: black, Frederick Maddox: Yeah. Jack Kondo: all same size button remote control. Um, so it is something that people care about. It's not, it's not ignored in the household. Um, seventy five percent of remote control users said that they zap a lot. Zapping meaning they go through channels a lot. They're Frederick Maddox: Mm-hmm. Jack Kondo: you know thumb-masters. Um, and fifty percent of users say they only use ten percent of the buttons. That A very small amount. Thought that was interesting. Brian Dvorak: Alright, so Frederick Maddox: Mm. Brian Dvorak: it might be very appealing if, um, Frederick Maddox: the single Brian Dvorak: we Frederick Maddox: function. Brian Dvorak: have very concise buttons. And Frederick Maddox: Yeah. Brian Dvorak: another thing with um lots of surfing, we'd probably have to work on something that could be um a lot more durable, because I find with um channel-changers that, um, Jack Kondo: Yes. Brian Dvorak: a lot of the numbers get rubbed down if they're Ryan Helm: Yeah. Brian Dvorak: printed on Frederick Maddox: Yeah Brian Dvorak: the button. Frederick Maddox: that's Ryan Helm: Yeah. Frederick Maddox: a good point. Jack Kondo: And actually to go with that, I'm gonna give you some statistics on the uh relevancy of the buttons, how much they're used. And uh how important the uh users find them. So the power button, obviously, in an hour is only used once. Hopefully the person's not turning on and off the T_V_. Um, but the relevance of that button is nine out of ten. So people wanna be able to turn on the T_V_ with the remote control. Um, as opposed to standing up and turning on the television set. Channel selection is used a hundred and sixty eight times on average per hour. That's a huge amount. This is the most important button. Um, so obviously when commercials come on they're changing it, so as you said we want a durable button that's not gonna run down. Relevance of that button, our users found was uh ten, ten out of ten. Uh, ditto for volume selection, so ten out of ten. And it's used on average four times an hour. Not as much as channel selection, but still significant. Um, audio settings is used on average zero point eight times an hour. Relevance is two. Screen settings, which means brightness, colour etcetera, zero point five times an hour. Um, and relevance of one point five. We're getting to specific statistics here. Teletext, um, now I'm not too clear on what that is. I don't know if you can help Jack Kondo. Flipping pages. Is Ryan Helm: It's Jack Kondo: that Ryan Helm: um Frederick Maddox: It's like the news. Or like Ryan Helm: It has Frederick Maddox: information. Ryan Helm: T_V_ has like information, it has information on holidays, the news, Brian Dvorak: Yeah. Ryan Helm: entertainment. Frederick Maddox: The and Jack Kondo: So Frederick Maddox: what's Jack Kondo: like Brian Dvorak: It's Jack Kondo: a Frederick Maddox: on. Jack Kondo: running Brian Dvorak: um Jack Kondo: banner, underneath Brian Dvorak: No it's Ryan Helm: No, Brian Dvorak: a button Ryan Helm: li Brian Dvorak: that you Ryan Helm: Yeah. Brian Dvorak: press, and then you, uh, like a menu pops up. Ryan Helm: Yeah. Brian Dvorak: I haven't used it before Jack Kondo: Oh. Brian Dvorak: but Frederick Maddox: It's Ryan Helm: And you Frederick Maddox: like Ryan Helm: have page numbers like for the menu, and you press the page numbers with your remote, and Jack Kondo: Okay. Frederick Maddox: It's like Ryan Helm: it, Frederick Maddox: very Ryan Helm: it'll come up. Frederick Maddox: basic internet. Ryan Helm: Very Frederick Maddox: Sort Ryan Helm: basic Frederick Maddox: of, Ryan Helm: internet, Frederick Maddox: um Ryan Helm: yeah. Jack Kondo: Okay. Ryan Helm: But you Jack Kondo: Like Ryan Helm: have Jack Kondo: tells you the weather, and Ryan Helm: Yeah. But Jack Kondo: Okay. Ryan Helm: you have no interaction back with it, you know. Like the internet you can send emails Frederick Maddox: Yeah, Ryan Helm: and Jack Kondo: Right. Frederick Maddox: it's Ryan Helm: You've Frederick Maddox: just Ryan Helm: no interaction. Frederick Maddox: information that um, like television timetables, what's on, what's on now, what's on next, on every Ryan Helm: Yeah. Frederick Maddox: channel, and Jack Kondo: Alright. Well I guess I'm not with it, because I wasn't But it's, it's being used fourteen times an hour. Um, and has a r a high relevance of six point five. So it looks like something that we're gonna want to do some research on and Ryan Helm: Yeah. Jack Kondo: include Frederick Maddox: Yeah. Jack Kondo: on our remote control. Channel settings. Ryan Helm: Uh, probably just tuning in the channels, would Jack Kondo: P Ryan Helm: it be? Jack Kondo: Sorry. Changing the channels? Ryan Helm: Tuning them in at the very start. You know if you get a new T_V_ set, you tune in all the channels, Jack Kondo: Oh, okay. Ryan Helm: do you th Frederick Maddox: To get Ryan Helm: do you Frederick Maddox: the Ryan Helm: think? Frederick Maddox: right reception Ryan Helm: Yeah. Frederick Maddox: and Ryan Helm: Yeah. Jack Kondo: Yeah. Frederick Maddox: picture, Jack Kondo: Okay. Brian Dvorak: Mm. Frederick Maddox: I suppose. Jack Kondo: Um, so it's not used very often, but people still find it relevant. Okay. Um, biggest frustrations of uh the people that we interviewed. Remote controls are often lost somewhere. So that was already discussed by Poppy. How we could have a, an alarm system so that people can find it. Um, takes too much time to learn how to use a new remote control. So it should be very user-friendly, you know. People know what to do very quickly. Um, remote controls are bad for R_S_I_. Frederick Maddox: Repetitive Ryan Helm: Repeti Frederick Maddox: strain Ryan Helm: Uh. Frederick Maddox: injury. Jack Kondo: Ah. Frederick Maddox: I Jack Kondo: Is Frederick Maddox: think. Jack Kondo: that what it is? People with arthritis and such? Brian Dvorak: That's rather sad. Jack Kondo: Um, maybe Frederick Maddox: Oh, Jack Kondo: our Frederick Maddox: I'm guessing that's what it is. Ryan Helm: Yeah, Frederick Maddox: I'm not Ryan Helm: yeah. I think Jack Kondo: designers Ryan Helm: it is. Jack Kondo: can look into that. Um, Frederick Maddox: Mm. Jack Kondo: buttons that don't require, you know, very firm Frederick Maddox: Yeah. Jack Kondo: pushing, if they respond. But we'll have to also avoid, you know, buttons responding to the slightest touch as well. That's a problem. Frederick Maddox: Yeah. It is. Jack Kondo: Okay. Did you guys uh get that one down? Frederick Maddox: Mm-hmm. Brian Dvorak: Yep. Jack Kondo: Um okay, here's some ideas for you. A large percentage of the public would pay for voice recognition on the remote controls. So I'll show you some numbers here. Um, so the youngest age group, fifteen to twenty five. Ninety one point two percent said that they would pay extra money to have voice recogni voice recognition included on their remote control. Um, and you can see that number decreases a bit with ol s Interestingly enough, twenty five to thirty five is the lowest amount. Um, that would, are willing to pay extra. So I guess we're gonna have to figure out what age group we're, we're targeting, and if and if voice recognition is something we wanna look into. And if we have the budget for it. Um, if we are targeting young adults, it looks like something that would pay off. Seeing as ninety percent, over ninety percent would pay for it. Brian Dvorak: I agree with um if we're targeting young adults then it would be something we should look into. Jack Kondo: Mm-hmm. Brian Dvorak: Um, financially and and functionally. Um, and especially if we are um trying to be trendy, go with fashions, Frederick Maddox: Mm. Brian Dvorak: things like that. Um, ages like from thirty five to sixty five which show lower numbers probably won't be as concerned. Jack Kondo: So that, that's a whole other field of research. I don't know if it'd be, if we'd still have a remote, or if you're talking to your television and saying change channel. Um and depending Brian Dvorak: Mm-hmm. Jack Kondo: on how many members Frederick Maddox: Yeah. Jack Kondo: you have in households. So it m it may be too complicated for us, but it's something Brian Dvorak: Yeah. Jack Kondo: to keep in mind anyway. Brian Dvorak: And something that might further complicate it is that the T_V_ makes noise itself. Jack Kondo: Right. Brian Dvorak: Wonder Ryan Helm: Yeah. Brian Dvorak: if it would have Frederick Maddox: And if there was conversation in the room at the same time, Jack Kondo: Mm-hmm. Brian Dvorak: Yeah. Frederick Maddox: although in theory it doesn't tend to be when you're watching television, but could be very difficult to get the specific uh Brian Dvorak: Yeah. If we're looking for a Frederick Maddox: design. Brian Dvorak: simplistic design, if Jack Kondo: Mm-hmm. Frederick Maddox: Yeah. Brian Dvorak: We need to decide if that is our um intention is, is a simplistic Frederick Maddox: Mm. Brian Dvorak: design. Um, because if, if it is then I think voice, um voice-activated Jack Kondo: It looks like Brian Dvorak: Yeah, and that would sort of negate the whole remote control thing, because Jack Kondo: Mm-hmm. Brian Dvorak: if people can activate the television with their voice Jack Kondo: It'd Brian Dvorak: then they Jack Kondo: be Brian Dvorak: won't Jack Kondo: like Brian Dvorak: be Jack Kondo: the Brian Dvorak: using Jack Kondo: ultimate Brian Dvorak: a, Jack Kondo: remote. Brian Dvorak: they won't be talking into a remote, I'm sure. Jack Kondo: Um okay. And th the last thing here was a, an L_C_D_ screen. So, I mean voice recognition might be a little too extreme for us. Not practical. Um an L_C_D_ screen though might be something that, you know, you can shift through pages kind of li the way this PowerPoint is working. Frederick Maddox: Yeah. Jack Kondo: So that you don't have so many buttons to deal with. Brian Dvorak: Um, I don't know what an L_C_D_ screen is. Jack Kondo: Oh sorry, just, just a screen, like a computer screen. S Or like um Ryan Helm: Mobile phone. Jack Kondo: Yeah. Frederick Maddox: Mm. Ryan Helm: Yeah. Jack Kondo: Or Like an alarm clock. You'd have an L_C_D_ versus just a, Frederick Maddox: What, Jack Kondo: a Frederick Maddox: what Jack Kondo: normal Frederick Maddox: would Jack Kondo: clock. Frederick Maddox: appear on the screen? Brian Dvorak: I have no idea still. I'm sorry. Jack Kondo: Oh just like an electronic screen. As opposed to just buttons. There would be like a little, Brian Dvorak: Oh, on Jack Kondo: like Brian Dvorak: the remote. Jack Kondo: on Yeah. Brian Dvorak: Okay. Jack Kondo: Like on the top of a cellphone, the the little Brian Dvorak: Yeah. Jack Kondo: L_C_D_ screen. Um, now that's, I, I dunno exactly what exactly we'd put on there. I guess the channel that you're on, Ryan Helm: Yeah. Jack Kondo: the v the volume setting. Ryan Helm: Could it it It would be good if it had the actual programme that was on, and what was next. But that would probably be Frederick Maddox: Like linked in with the teletext, Jack Kondo: Mm-hmm. Ryan Helm: Yeah. Frederick Maddox: or sort Ryan Helm: That Frederick Maddox: of like Ryan Helm: would be Frederick Maddox: an Ryan Helm: good, yeah. Frederick Maddox: teletext at your fingers, without having Ryan Helm: Yeah. Frederick Maddox: to access that through the television. Ryan Helm: Might be quite expensive to do that though. Frederick Maddox: Mm, Yeah. Could be. Jack Kondo: Well Brian Dvorak: Right. Jack Kondo: I guess that's something we can all take back to our respective research. Frederick Maddox: Mm-hmm. Jack Kondo: Um, and finally, whoops, my personal preferences and thoughts. Um, I think our priority really should be unique design. Um, we want something that people want in their home. Every remote control looks the same, so uh in my opinion it should be, um, user-friendly and unique. So the other stuff might be a little too, a little too gadgety for some people. Frederick Maddox: Yeah. Jack Kondo: Um, I th myself, voice recognition kind of scares Jack Kondo off. So if we're, if we're Frederick Maddox: Mm. Jack Kondo: aiming to make this an international university, universally accepted product Um, and for all, the other thing is like age market. I mean if we wanted to concentrate on fifteen to twenty five years olds, we could go for the fancy stuff. But if we wanna make fifty million, and and have everyone want this remote control, we should maybe stick to the basics. Brian Dvorak: Mm-hmm. Ryan Helm: And we should keep in mind that fifteen to twenty five year olds might not have twenty five Euros to spend on a remote control. Jack Kondo: Mm-hmm. Ryan Helm: Like their priorities might not be a fancy remote control, when they're just starting out and, Jack Kondo: Right. And we have to Ryan Helm: yeah. Jack Kondo: keep in mind the, the reliability of our research. I mean, you know, a sixteen year old boy would say, yeah I'd pay extra for voice recognition, until they realise that's three months allowance. Ryan Helm: Yeah. Jack Kondo: Um, Ryan Helm: Yeah. Jack Kondo: so I I think, I think the older generations we should be catering to a bit more. Ryan Helm: Early twenties, Brian Dvorak: Yeah. Ryan Helm: that's the kind of age group. Brian Dvorak: And if one of the largest, Ryan Helm: Twenties. Brian Dvorak: uh, or most complained about thing is that it takes so long to get to know how Jack Kondo: Yeah. Brian Dvorak: to use a Frederick Maddox: Yeah. Brian Dvorak: remote control, I'm sure that something like an L_C_D_ screen or remote control would be just furthering that problem. Frederick Maddox: Yeah. Jack Kondo: Yep. Frederick Maddox: Complicated Brian Dvorak: Yeah. Ryan Helm: Yeah. Frederick Maddox: jus complicating things even fo Brian Dvorak: Alright. Frederick Maddox: Mm. Jack Kondo: Okay. Frederick Maddox: Okay. Jack Kondo: That's it for the market research. Brian Dvorak: Okay. Before we go into uh more discussion on we want this design to look like, I've received some information from the management that will affect some of our decisions. Um, for one thing, because Having controls with D_V_D_, V_C_R_, that sort of thing, would really complicate the design of the remote control. Um, we've decided not to include them and make it a specific, just a specific television um function. decided that we would like to go with that anyway. Um, for many reasons. So um we have that decision sort of made for us. Another thing that might um affect other decisions is that um the management feels that teletext is outdated, because more people are using the internet now. And so uh we won't concern ourselves with um navigating the teletext option. Frederick Maddox: Can I just interrupt? Brian Dvorak: Yep. Frederick Maddox: Would you like to plug in Jack Kondo: Yeah. Maybe we Frederick Maddox: your Jack Kondo: can do the Frederick Maddox: Have Brian Dvorak: Okay, Frederick Maddox: you Brian Dvorak: sure. Frederick Maddox: got a PowerPoint or not? Brian Dvorak: Yeah I do. I'm Frederick Maddox: Okay. Brian Dvorak: looking at Frederick Maddox: Thanks. Brian Dvorak: looking at it right now. Jack Kondo: There you go. Brian Dvorak: thank you. Jack Kondo: Oh, come back screen. Hmm. Frederick Maddox: Were they, was the management suggesting use of the internet rather than teletext, or just avoiding both altogether? Brian Dvorak: Um, well, I mean we don't have the resources or Frederick Maddox: Yeah. Brian Dvorak: or possibility Frederick Maddox: Yeah. Brian Dvorak: of using the internet with the remote control, but um they were just pretty much saying that Frederick Maddox: Okay. Brian Dvorak: the teletext would not Frederick Maddox: Yeah. Brian Dvorak: be used. Frederick Maddox: Okay. Brian Dvorak: Alright, and another thing. This is for the design, the design of the product is that um we wanna create, um more of a sense that people know that this is from our company. So, Frederick Maddox: Right. Brian Dvorak: um, all the remote controls must have our um We'll incorporate our logo and colour in in Frederick Maddox: Yeah. Brian Dvorak: some way. Frederick Maddox: Yeah. Brian Dvorak: So, um, perhaps um our logo on the bottom, or wherever you feel like it would look good. Frederick Maddox: Okay. Brian Dvorak: Um, it doesn't have to be the colour of our um Frederick Maddox: Just Brian Dvorak: of our company but, another thing is that, um we need to, we probably would have to have that colour and, and logo decided upon. Um, I'm assuming that we already have one, but for the purposes of this meeting I, I wasn't offered a, like a type of logo or colour, so Frederick Maddox: Okay. Brian Dvorak: if that Frederick Maddox: Work Brian Dvorak: could be Frederick Maddox: on that. Brian Dvorak: um somewhere on the design so that we can be recognisable. Jack Kondo: It's probably R_ R_R_ in yellow. Ryan Helm: Yeah. Frederick Maddox: Yeah. Brian Dvorak: The little R_ R_ yellow thing? Okay. Jack Kondo: Yeah, Ryan Helm: Yeah. Frederick Maddox: Mm-hmm. Jack Kondo: I think. Brian Dvorak: Real Reaction? Okay. Um, yes, those are the changes. Um, so, now we need to discuss, um and come to a decision on our remote control functions, of, of how this is going to be. I'm just going to look at my notes for a second. Um, we have to decide on a target group and the functions of the remote control. So, Frederick Maddox: Okay. Brian Dvorak: um, we already know that it'll just be for the television. It'll It won't have teletext. But um, you know, we could discuss um those other options that you brought up, Genevieve. Jack Kondo: Okay, so I Are we going to write off the L_C_D_ option? Frederick Maddox: Yeah. Brian Dvorak: Is Ryan Helm: Yeah. Brian Dvorak: that Jack Kondo: Yeah? Brian Dvorak: how most people feel about that? Frederick Maddox: Yeah. Jack Kondo: Okay. Brian Dvorak: Okay. Jack Kondo: So no L_C_D_, no teletext, and no voice recognition. Ryan Helm: I think it would be annoying though if I don't use teletext that much, but if it was on your T_V_, you'd want to be able to use it, if Brian Dvorak: Yeah, but another Ryan Helm: You'd Brian Dvorak: thing Ryan Helm: Yeah. Brian Dvorak: is that if we're reaching an international crowd, um, I know for one that in North America there Jack Kondo: Yeah. Brian Dvorak: is no such thing Ryan Helm: So Brian Dvorak: as teletext, Ryan Helm: is it just Brian Dvorak: so Jack Kondo: Never Frederick Maddox: Yeah. Brian Dvorak: it'd be Jack Kondo: heard Brian Dvorak: really Jack Kondo: of it. Brian Dvorak: superfluous. Ryan Helm: Okay. Alright. Brian Dvorak: Yeah. Ryan Helm: Right. Brian Dvorak: I don't know about other countries besides the U_K_. Do you know if anywhere else Ryan Helm: I don't Frederick Maddox: I Ryan Helm: know. Frederick Maddox: don't know. Brian Dvorak: has it? Ryan Helm: I don't Frederick Maddox: More Ryan Helm: know. Frederick Maddox: research required, I think. Brian Dvorak: Alright. Frederick Maddox: But if Was it a management decision that we're Brian Dvorak: It was Frederick Maddox: having Brian Dvorak: a management Frederick Maddox: Okay. Ryan Helm: Yeah. Brian Dvorak: decision, Frederick Maddox: So Brian Dvorak: so it's, it's pretty much out of our hands at this point. Frederick Maddox: Okay. Ryan Helm: Okay then. Brian Dvorak: 'Kay. So, I guess we're looking at something rather simple. Jack Kondo: Um, well I guess, just from my findings it looks like we wanna minimise buttons. Frederick Maddox: 'Kay. Jack Kondo: Um. Frederick Maddox: Minimal Jack Kondo: And the What was the word they used? F findability is important. Brian Dvorak: Yeah. I think we should definitely go ahead with the alarm system idea Frederick Maddox: Yeah Brian Dvorak: that you Jack Kondo: Mm-hmm. Brian Dvorak: had. Ryan Helm: Yeah. Brian Dvorak: 'Cause Frederick Maddox: okay. Brian Dvorak: I'm sure that could be inex inexpensive because we could use the same kind of infrared Frederick Maddox: Yeah. The same signalling. Brian Dvorak: the same Frederick Maddox: I mean Brian Dvorak: signal through that and it could just like make a little beeping noise. It's not Frederick Maddox: Or Brian Dvorak: that expensive Frederick Maddox: vibrate Brian Dvorak: to do. Frederick Maddox: just the same as a mobile phone. Like you just a, Brian Dvorak: Yeah. Frederick Maddox: a buzz or something. Jack Kondo: Mm-hmm. Brian Dvorak: Yeah. Frederick Maddox: Yeah. Brian Dvorak: Okay. I like that idea. Ryan Helm: Would you be able to, um, put the little device anywhere? 'Cause uh isn't our remote control for all T_V_s, so Frederick Maddox: If Ryan Helm: you'd ha Frederick Maddox: Do you mean the the link between the Ryan Helm: Yeah, with the button Frederick Maddox: Well, Brian Dvorak: Yeah. Ryan Helm: that you pressed. Brian Dvorak: The button Frederick Maddox: if the button Brian Dvorak: Oh. Frederick Maddox: was actually on Ryan Helm: Yeah. Frederick Maddox: Oh, Ryan Helm: C 'cause Frederick Maddox: yeah. Ryan Helm: then it would only be a Brian Dvorak: Minor detail Ryan Helm: applicable Brian Dvorak: there. Ryan Helm: to one T_V_ set, so it would need to be something that Frederick Maddox: Maybe Ryan Helm: you could stick somewhere, Frederick Maddox: Yeah, yeah. Ryan Helm: or something. Frederick Maddox: Maybe Brian Dvorak: Yeah, it Frederick Maddox: something Brian Dvorak: would have t Frederick Maddox: adhesive that you could like stick onto the back of Ryan Helm: Yeah. Frederick Maddox: any set that would be Brian Dvorak: Mm-hmm. Frederick Maddox: um yeah not very obtrusive. Obviously something small that's Ryan Helm: Yeah. Frederick Maddox: Yeah, that's a good point. Brian Dvorak: Yeah. Then it wouldn't, it probably wouldn't be able to use It would be able to use the same reception on the remote c control I guess, but the actual device would have to have its own Frederick Maddox: Yeah. Brian Dvorak: infrared Ryan Helm: Yeah. Brian Dvorak: signaller. Okay. Frederick Maddox: Yeah, okay. Ryan Helm: Would it need a battery then? Brian Dvorak: Maybe, um Frederick Maddox: Pr probably. Brian Dvorak: Probably, I mean. Frederick Maddox: Unless it could Brian Dvorak: That's your Frederick Maddox: be Brian Dvorak: department you'll have to Jack Kondo: Mm. Brian Dvorak: sort that out. Frederick Maddox: Okay. Um, unless some way, it could have some universal connection to like the socket, the same socket that the T_V_'s supplied from. I mean the power for the T_V_. Ryan Helm: Yeah. Frederick Maddox: So, Brian Dvorak: Yeah, you'll Frederick Maddox: mm, Brian Dvorak: have to Yeah, Frederick Maddox: more Brian Dvorak: you'll Frederick Maddox: research Brian Dvorak: have to Frederick Maddox: into Brian Dvorak: investi Frederick Maddox: that one. Jack Kondo: Mm. Brian Dvorak: Do Frederick Maddox: Yeah. Brian Dvorak: some research on that, alright? Great. Um, alright, and I'm sure that, um um, the glow-in-the-dark, fluorescent, whatever, system, um is a go ahead. Is Frederick Maddox: Y Brian Dvorak: everyone interested Jack Kondo: On Brian Dvorak: in Jack Kondo: the buttons? Brian Dvorak: that? Ryan Helm: I I like the light up suggestion. I think that would Frederick Maddox: Yeah. Ryan Helm: be better. 'Cause you know Brian Dvorak: Yeah. Ryan Helm: the way fluorescent lights lose their brightness Frederick Maddox: Yeah. Ryan Helm: after Frederick Maddox: Yeah. Ryan Helm: certain time, so Brian Dvorak: Yeah. Frederick Maddox: Yeah. Ryan Helm: I would Jack Kondo: it Ryan Helm: go Jack Kondo: doesn't Ryan Helm: for Jack Kondo: It could it could be a tactile thing as well. Um right, if w if we're minimising buttons, we might be able to make them actually larger. And there's something on it. S you know like Frederick Maddox: Like a raised Jack Kondo: up arrow down arrow for, for volume. Um, and I don't know what we could do for, for channels. S Ryan Helm: Well just the numbers could be embossed, couldn't it? Like raised. Jack Kondo: The numbers themselves. Ryan Helm: Yeah. Jack Kondo: But then Ryan Helm: Could Jack Kondo: the Ryan Helm: be Jack Kondo: like Ryan Helm: raised. Jack Kondo: up button and down button for the channel, channel changing. Ryan Helm: Just little arrows, that Jack Kondo: Yeah. Ryan Helm: you could feel, Frederick Maddox: Yeah Ryan Helm: maybe? Brian Dvorak: Hmm. Jack Kondo: I just thought that it, it might be sucking more battery power, if there, if it is a light up. I'm not sure. Ryan Helm: Yeah. Frederick Maddox: That's Brian Dvorak: Yeah. Frederick Maddox: true. And Brian Dvorak: But Frederick Maddox: also Brian Dvorak: I mean Frederick Maddox: y, uh Heather you mentioned before, um like how it should be accessible to everybody. Brian Dvorak: Yeah. Frederick Maddox: Um, so like big b um buttons, for people you are visually impaired. Ryan Helm: Yeah. Frederick Maddox: The glow-in-the-dark Jack Kondo: Mm-hmm. Frederick Maddox: or light up won't make any difference anyway. So like you Ryan Helm: That, Frederick Maddox: say tactile Ryan Helm: I think that's Frederick Maddox: might be Ryan Helm: good, Frederick Maddox: better, Ryan Helm: yeah. Frederick Maddox: because it'd be more available to Brian Dvorak: Yeah. Frederick Maddox: everybody. Brian Dvorak: Could we somehow We could, may, possibly, sorry, incorporate them both so that Jack Kondo: Mm-hmm. Frederick Maddox: Yeah. Ryan Helm: Yeah. Brian Dvorak: the Frederick Maddox: Yeah. Brian Dvorak: buttons could maybe be in the shape of the numbers themselves and Ryan Helm: Yeah. Brian Dvorak: be made out of some glow-in-the-dark Frederick Maddox: Mm-hmm. Brian Dvorak: material. Ryan Helm: Yeah. Frederick Maddox: Yeah. Brian Dvorak: 'Cause Jack Kondo: Mm-hmm. Brian Dvorak: I d I don't think that glow-in-the-dark material, um, like the actual soft plastic, um, costs that much more Ryan Helm: No, Frederick Maddox: No, Ryan Helm: I Brian Dvorak: than other Ryan Helm: wouldn't Brian Dvorak: colours. Frederick Maddox: it's Ryan Helm: say so. Frederick Maddox: not these days. I mean, it's quite easily Brian Dvorak: Yeah. Frederick Maddox: accessible. Jack Kondo: I guess the other option, referring to the battery thing is, you know how cellphones will t light up for fifteen seconds Frederick Maddox: Yeah. Jack Kondo: or something, when Ryan Helm: That's Jack Kondo: you're s Frederick Maddox: Yeah. Ryan Helm: good Yeah Jack Kondo: and then Ryan Helm: that Jack Kondo: it goes, Ryan Helm: a good Jack Kondo: so Ryan Helm: idea. Jack Kondo: if, if you're like changing the volume during a movie. I know, I'm thinking of mostly when Frederick Maddox: Yeah. Jack Kondo: you're watching a movie you turn all the lights off right. Ryan Helm: Yeah. Jack Kondo: And Frederick Maddox: Yeah. Jack Kondo: you don't want to turn on the lights, to turn it down, because there's suddenly an explosion, and it's gonna wake up the baby. Ryan Helm: Yeah. Jack Kondo: Um, so if you touch the button, it kind of reactivates it. It lights Ryan Helm: That, Frederick Maddox: Yeah. Jack Kondo: up for Ryan Helm: yeah, Frederick Maddox: Yeah. Ryan Helm: that's a good idea. Jack Kondo: On self timer. Frederick Maddox: So self-timed lighting. Jack Kondo: Yeah. Brian Dvorak: Alright we have five minutes left Frederick Maddox: Um, Brian Dvorak: um, Frederick Maddox: I Brian Dvorak: for the meeting, but I think we should discuss this light subject a little bit more before we close. Um, what was I missed the last moment, reading that. What were you talking about with the lighting up buttons? Jack Kondo: Oh, just if it was kinda the same way that a cell You know how a cellphone will light up for about ten, fifteen seconds when you touch a button, after Brian Dvorak: Yeah. Jack Kondo: having not touched it for a while. Brian Dvorak: Yeah. Jack Kondo: Um, if instead of a constant light up on the, on the remote control, if it lights up for ten seconds when it's touched again. Brian Dvorak: Mm. So it could be any button that would be pressed. Jack Kondo: Yeah, Frederick Maddox: Yeah. Jack Kondo: and you, you touch it and it just kind of lights up a bit, and it gives Frederick Maddox: So, Jack Kondo: a faint Frederick Maddox: self-timed Jack Kondo: glow. So if you have all the lights off in your living room, you'll, Brian Dvorak: Yeah. Jack Kondo: you'll temporarily see it. Because usually you're not fooling around for it for more than what ten seconds. Frederick Maddox: Yeah. Ryan Helm: Yeah. Brian Dvorak: Okay, so Jack Kondo: So Frederick Maddox: Yeah. Brian Dvorak: That's probably feasible. So, do you think that we should do the lighting up thing, and the glow-in-the-dark thing, and the shape of the numbers? Do we have to kind of decide what we're gonna do with this. Jack Kondo: Mm-hmm. Frederick Maddox: I think the shape of the numbers is a really good idea. Ryan Helm: Yeah. Brian Dvorak: Yeah, okay. Frederick Maddox: And I think Ryan Helm: For Frederick Maddox: that's Ryan Helm: visually Frederick Maddox: un unique Ryan Helm: impaired, Frederick Maddox: as well. I Brian Dvorak: Yeah. Frederick Maddox: mean, I haven't Ryan Helm: yeah. Frederick Maddox: seen that. Jack Kondo: Mm-hmm. Frederick Maddox: And as you're saying like numbers can wear off if they're just sort of like Brian Dvorak: Yeah, Frederick Maddox: painted on, Brian Dvorak: yeah. Frederick Maddox: you Brian Dvorak: And it Frederick Maddox: know Brian Dvorak: could, Frederick Maddox: printed. Brian Dvorak: if it's that softer rubber material it'll be, maybe, um, uh, better for people with um Frederick Maddox: durable. Brian Dvorak: els no what's it called, R_S_I_, what was it that Frederick Maddox: Oh Brian Dvorak: we were Frederick Maddox: yeah. Brian Dvorak: talking about? Ryan Helm: Yeah. Jack Kondo: Oh right, Brian Dvorak: Yeah. Frederick Maddox: Yeah. Jack Kondo: the Frederick Maddox: Yeah. Repetitive Brian Dvorak: Yeah instead of Frederick Maddox: strain Brian Dvorak: like hard Frederick Maddox: injury. Brian Dvorak: buttons. Okay. Frederick Maddox: Mm-hmm. Brian Dvorak: Um, did we want to go for the glow-in-the-dark look? Or Ryan Helm: If Brian Dvorak: did we want to go for the lighting up instantly? Like should we do both? Or we can have one or the other? Because it might, for, for our design purposes, I mean, the lighting up thing might be better because Jack Kondo: Mm-hmm. Brian Dvorak: glow-in-the-dark material has a funny kinda colour. Jack Kondo: I Brian Dvorak: And Jack Kondo: was Brian Dvorak: it might Jack Kondo: gonna Brian Dvorak: not Jack Kondo: say, Brian Dvorak: go with different like face plates that we might come up with. Jack Kondo: Exactly. Frederick Maddox: Yeah. Jack Kondo: It the it might be perceived as tacky, glow-in-the-dark. It's kind Brian Dvorak: Yeah. Jack Kondo: of like Eighties neon-style. Frederick Maddox: Yeah, Jack Kondo: Um, whereas Frederick Maddox: and Jack Kondo: we're Frederick Maddox: we Jack Kondo: trying Frederick Maddox: could Jack Kondo: to be trendy and fashionable. Frederick Maddox: Yeah Jack Kondo: So Frederick Maddox: there are now like loads, or a huge range of different colours that it could light up in as well, which could like link in with the company colours. Like it could be blue or green or yellow, Jack Kondo: Mm-hmm. Brian Dvorak: Right. Frederick Maddox: or like Brian Dvorak: Right. Frederick Maddox: we've just limited t with the, just ordinary phosphorescent so Brian Dvorak: Alright. So we've decided on lighting up Ryan Helm: I was thinking Brian Dvorak: things. Ryan Helm: though, if it was glow-in-the-dark, you could put the um Real Reaction symbol as glow-in-the-dark, and then it would be constantly advertised. Frederick Maddox: Yeah. Jack Kondo: Mm. Frederick Maddox: Every time the, that it lit Brian Dvorak: Yeah. Frederick Maddox: up, you c that could light up as Ryan Helm: Yeah. Frederick Maddox: well. Or, Ryan Helm: Yeah. Frederick Maddox: or Brian Dvorak: Yeah. Frederick Maddox: the, whate Brian Dvorak: But with the same thing, I Jack Kondo: That's Brian Dvorak: mean. Jack Kondo: true. Brian Dvorak: If you touch the button Frederick Maddox: Yeah. Brian Dvorak: and then it Ryan Helm: Yeah. Brian Dvorak: could be, Ryan Helm: Okay. Brian Dvorak: it could be lit up as well. Is Are you okay with that? Ryan Helm: Yeah. Brian Dvorak: Okay. Cool. Um Alright. So I think that um Frederick Maddox: Is Brian Dvorak: that completes most of our um our more uh practical decisions. And now it's up to designing. And um making sure that this can be feasible. Jack Kondo: What um Brian Dvorak: And do you have anything Jack Kondo: Oh Brian Dvorak: Do Jack Kondo: sorry. Brian Dvorak: you have anything to say? Jack Kondo: Yeah well, I was just gonna throw out there the thought about um personalising the remote control. Um, it, you, 'cause you mentioned face plates. So I I dunno if there's something that diff, you know like five different face plates. I dunno if this will start making it more complicated, but it could increase the popularity of the, of the remote. Frederick Maddox: Okay. Ryan Helm: Oh yeah. Frederick Maddox: Like Jack Kondo: Um Frederick Maddox: you can have changeable Ryan Helm: Interchangeable thing? Frederick Maddox: um Jack Kondo: Yeah, Frederick Maddox: mobile covers Brian Dvorak: Like an iPod Frederick Maddox: or something. Ryan Helm: That would Brian Dvorak: or something? Ryan Helm: be good. Jack Kondo: Exactly, Frederick Maddox: Yeah, Jack Kondo: like Brian Dvorak: Okay. Jack Kondo: an Ryan Helm: Yeah. Jack Kondo: iPod. Exactly. Frederick Maddox: or Okay. Jack Kondo: Or, or like mobile Brian Dvorak: Like a Jack Kondo: ph. Brian Dvorak: cellphone? Yeah. Jack Kondo: And I dunno if we'd want to go with like T_V_ show themes or something. Like a Bart Simpson faceplate. Ryan Helm: Yeah, and then that Jack Kondo: But Ryan Helm: would be uh more profitable like as a sideline to the remote Brian Dvorak: Mm-hmm. Ryan Helm: as well. Frederick Maddox: Yeah. Ryan Helm: Y Jack Kondo: Mm-hmm. Ryan Helm: Could buy Brian Dvorak: Accessories. Jack Kondo: Exactly. Ryan Helm: extra Jack Kondo: You could start out with Frederick Maddox: Person Jack Kondo: three, and if, if we hit it big then we can add Ryan Helm: Yeah. Jack Kondo: some on. Frederick Maddox: Yeah. Well, Ryan Helm: That's Frederick Maddox: that's Ryan Helm: a good idea. Frederick Maddox: great. Brian Dvorak: Yeah. Ryan Helm: Yeah. Brian Dvorak: I think that we should incorporate that. Frederick Maddox: Interchangeable. Um, Brian Dvorak: 'Cause Frederick Maddox: als Brian Dvorak: that wouldn't be very expensive at all. You'd Ryan Helm: No. Brian Dvorak: just get one mould, Frederick Maddox: Yeah. Jack Kondo: Mm-hmm. Frederick Maddox: Interchan Brian Dvorak: throw some plastic in it, you know. Frederick Maddox: And also possible I mean, uh, we could gain out of that by advertising certain T_V_ shows, or Ryan Helm: Oh Brian Dvorak: Yeah. Ryan Helm: yeah. Brian Dvorak: Well, that might be com Jack Kondo: Right. Brian Dvorak: problematic with um copyright issues. Frederick Maddox: Yeah. Brian Dvorak: So, Frederick Maddox: But if we, there Brian Dvorak: if Ryan Helm: If Frederick Maddox: is Brian Dvorak: it Ryan Helm: w Brian Dvorak: takes off then we'll, Frederick Maddox: Yeah. Brian Dvorak: we'll, Frederick Maddox: We could Brian Dvorak: we'll try that out. Frederick Maddox: Um, the environmental factor, we didn't bring that up again. Jack Kondo: Right. Brian Dvorak: Right. We'll have to do more research. Like as of yet, that has nothing to do with, um, the way it'll look. Frederick Maddox: Yeah. Brian Dvorak: Um, does it need to be reached a de Do we need to reach a decision on that right now? Frederick Maddox: Um, Brian Dvorak: Because Frederick Maddox: I've Brian Dvorak: we need to investigate the financial implications. Frederick Maddox: Okay. Brian Dvorak: Okay. Frederick Maddox: Let's Brian Dvorak: Is it Does it need to be uh decided on now? Or Frederick Maddox: I Brian Dvorak: should we Frederick Maddox: think we could probably leave that 'til later on, Brian Dvorak: Okay. Frederick Maddox: then. Brian Dvorak: Good. Alright then. Anyone else have anything more to say before we close? Ryan Helm: No. Frederick Maddox: No. Brian Dvorak: Alright, well. Let's have lunch and we'll discuss this later. Ryan Helm: Okay. Frederick Maddox: Okay. Brian Dvorak: Alright? Frederick Maddox: Thank you.

Brian Dvorak opens the meeting, asking Frederick Maddox to present first. Frederick Maddox begins talking about the functional aspect of the working design and features to make the product unique, such as visibility in the dark, locator alarm, and environmentally-friendly materials. To make an environmental impact, they could use smart materials that can be heated and cooled so that the individual components easily separate to be reused or recycled. The group asks some questions about this idea and then the interface designer presents about technical functions, explaining the difference between a multifunctional and single function remote. The group discusses the two types and decides that a single function design is more suitable for the budget. Jack Kondo presents on user requirements by using research done on remote control users. She summarizes these findings andexplains her personal preference for a user-friendly, unique design since certain features could be too complex. Brian Dvorak receives some decision-affecting information from management, which she shares with the group. They have a discussion about the remote control functions and close the meeting.

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train

Jason Puccio: Yep. Soon as I get this. Jason Puccio: 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. Arthur Morris: The prototype discussion. Jason Puccio: The prototype yeah. Do you need a this? Arthur Morris: No. Jason Puccio: Okay. Arthur Morris: There Charlie Davis: Can try Arthur Morris: is Charlie Davis: to Arthur Morris: our Charlie Davis: plug Arthur Morris: remo Charlie Davis: that in there but Arthur Morris: 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 Jason Puccio: Very Arthur Morris: you, Jason Puccio: nice. Arthur Morris: 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 Charlie Davis: Right. Arthur Morris: you want to add? Charlie Davis: 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 Arthur Morris: Yeah. Charlie Davis: it from somewhere, Arthur Morris: Doesn't make much Charlie Davis: so Jason Puccio: Mm-hmm. Arthur Morris: make Charlie Davis: yeah, Arthur Morris: much difference. You Charlie Davis: you Arthur Morris: could Charlie Davis: have Arthur Morris: work Charlie Davis: some Arthur Morris: left-handed Charlie Davis: rub Arthur Morris: or right-handed Charlie Davis: yeah. Arthur Morris: I suppose. Charlie Davis: Exactly, use both. Might as well Arthur Morris: T the Charlie Davis: think Arthur Morris: actual Charlie Davis: about Arthur Morris: thing might be smaller. Charlie Davis: Th think about the button as Arthur Morris: Yeah. Charlie Davis: well. put either one one on either side or Jason Puccio: What but what's Charlie Davis: not Jason Puccio: that Charlie Davis: do Jason Puccio: button? Charlie Davis: it at all. Arthur Morris: Just the on Charlie Davis: It's Arthur Morris: and Charlie Davis: a quick Arthur Morris: off. Jason Puccio: Uh, Charlie Davis: on-off Jason Puccio: 'kay. Charlie Davis: button. That's um yeah I think it's pretty important. So you don't have to fiddle with that. Jason Puccio: 'Kay. Charlie Davis: Right? Um that's not um I'd say a bit smaller would probably be nice. Arthur Morris: Yeah. Charlie Davis: You wanna play with that over there. There you go. Arthur Morris: It's you know it's flimsy 'cause it's made out of heavy Play-Doh, Jason Puccio: Would you like Arthur Morris: but Charlie Davis: Right. Jason Puccio: to uh Dennis Durst: Pretty impressive. Jason Puccio: Well done. Dennis Durst: Kind. Arthur Morris: And whether or not it would fall into the cost everything I suppose. With the scroll and the L_C_D_. Jason Puccio: Well luckily we are going to find out. Or not luckily. Um do you have a Dennis Durst: I Jason Puccio: marketing Dennis Durst: do. Jason Puccio: presentation for us. Dennis Durst: Okay. You guys are gonna help Dennis Durst do an evaluation of the criteria. Um. Dennis Durst: 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. Dennis Durst: 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. Dennis Durst: Okay. So for the first one, we need to decide, did we solved the problem of the users who complained about an ugly remote? Jason Puccio: I think it's definitely Dennis Durst: Mm. Jason Puccio: different than anything else Arthur Morris: Yeah. Jason Puccio: out there. So if they think that what is out there is ugly, then yes Arthur Morris: I Jason Puccio: I Arthur Morris: would. Jason Puccio: would say, I would say most definitely. It's bright. Arthur Morris: It's bright. It's Jason Puccio: It still has your traditional black. Arthur Morris: It's curved. It's not there's no sharp angles to Jason Puccio: Yep, Arthur Morris: it. Jason Puccio: not angular. Dennis Durst: Mm. Charlie Davis: 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, Dennis Durst: Yeah I think Charlie Davis: we Dennis Durst: the Charlie Davis: don't Dennis Durst: colours Charlie Davis: have a say Dennis Durst: detract Charlie Davis: in that. Dennis Durst: a little Arthur Morris: Some people Dennis Durst: bit. Arthur Morris: might Charlie Davis: That has Arthur Morris: say Charlie Davis: been, Arthur Morris: it. Yeah. Charlie Davis: that has been dictated Jason Puccio: Mm. Charlie Davis: pretty much by the company. So Dennis Durst: That's true. Charlie Davis: uh Jason Puccio: Yep. Charlie Davis: to answer that honestly I would rather say like uh, we have not solved the problem completely with Dennis Durst: Yeah. Charlie Davis: the ugly remote because the colour is ugly, definitely. Arthur Morris: Yeah. Charlie Davis: 'S nothing you can say about that. I mean I much prefer something like brushed chrome Arthur Morris: Yeah. Charlie Davis: with that form. But Jason Puccio: Yeah something more modern to go Charlie Davis: Right. Jason Puccio: a a modern colour to go with the modern form. Charlie Davis: 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. Dennis Durst: 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 Charlie Davis: Yeah. Dennis Durst: that sound good? Jason Puccio: Yeah. Arthur Morris: Yeah. Dennis Durst: What do you think? Three? Four? Jason Puccio: I Dennis Durst: Five? Jason Puccio: would say four. Dennis Durst: Four Charlie Davis: Yeah. Dennis Durst: is fair. Okay. Jason Puccio: Very non-committal, four. Dennis Durst: Okay, the second one. Did we make it simple for new users? Charlie Davis: It's very intuitive, I think yeah. Arthur Morris: Yeah. I think that was the main aim, one of the main aims that we had. Charlie Davis: S give it a one. Dennis Durst: One, Jason Puccio: Yeah. Dennis Durst: 'kay. Okay. Um, do the controls now match the operating behaviour of the users? Arthur Morris: Uh yeah. Dennis Durst: I'd Arthur Morris: 'Cause Dennis Durst: say Arthur Morris: we've Dennis Durst: that Arthur Morris: we've brought it down to basically four controls most common, which Charlie Davis: Right. Arthur Morris: are Jason Puccio: Mm-hmm. Arthur Morris: channel and volume. And then the other ones are just a matter of just going, just Jason Puccio: S Arthur Morris: scrolling further. Jason Puccio: scrolling through and selecting Arthur Morris: Yeah. Jason Puccio: a few. Charlie Davis: Right. Dennis Durst: So one? Charlie Davis: So that's a one. Dennis Durst: Yeah? Jason Puccio: I think that's a one. Dennis Durst: Okay. Okay um the fourth one. How about the problem of a remote being easily lost? One of the number one Charlie Davis: Something Dennis Durst: complaints. Charlie Davis: that big and that yellow you just don't lose anymore. Arthur Morris: Yeah. Dennis Durst: Whether Arthur Morris: It's Dennis Durst: you Arthur Morris: bright Dennis Durst: want to Arthur Morris: yellow. Dennis Durst: or not, Arthur Morris: Bright Dennis Durst: you're Arthur Morris: yellow's Dennis Durst: not Arthur Morris: hard Dennis Durst: gonna Arthur Morris: to Dennis Durst: lose Arthur Morris: lose. Dennis Durst: it. Arthur Morris: 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. Jason Puccio: So if we incorporate speech recognition into it then it Arthur Morris: Just Jason Puccio: could Arthur Morris: just to use, to find it when it was lost. But like I said, like I Charlie Davis: Oops. Arthur Morris: don't think you'd lose something so yellow so easily. And it's Charlie Davis: Hmm. Arthur Morris: not gonna fall, like a rectangle would slip down behind things. That's gonna be a difficult shape to Charlie Davis: Well Jason Puccio: And Charlie Davis: what Jason Puccio: it is quite bright and Arthur Morris: Yeah. Maybe in the middle again, three or four or something? Charlie Davis: S Dennis Durst: Okay. Jason Puccio: Uh Arthur Morris: I mean you know loo losing things is one of those things that people can lose, Jason Puccio: Yeah. Arthur Morris: I mean a million ways. You can pick it up and walk away with it and then you've lost it. Dennis Durst: That's true. Charlie Davis: Mm. Jason Puccio: But if we do Dennis Durst: Mm. Jason Puccio: go with the, with the speech recognition, then it, then our scale goes up quite a bit Charlie Davis: Oh Jason Puccio: I Charlie Davis: yeah. Jason Puccio: think. Arthur Morris: Yeah. Charlie Davis: You probably Jason Puccio: Probably two. You know. If we eliminate the fact that you know it's impossible to guarantee that it's not gonna be lost Arthur Morris: Yeah. Jason Puccio: then Charlie Davis: Mm. Jason Puccio: I'd say two. With the speech recognition, which of course may be changed depending on budget. Arthur Morris: Yeah. Charlie Davis: Y you could add an extra feature actually. Which makes this thing raise hell when you remove it too far from the television. Arthur Morris: Yeah. Charlie Davis: We could add that but that's nothing we have thought of Jason Puccio: Which, Charlie Davis: so far. Jason Puccio: which may be cheaper than speech recognition if it Charlie Davis: Yes. Jason Puccio: were just a Arthur Morris: Yeah true. But Dennis Durst: Annoying Arthur Morris: I mean d just Dennis Durst: alarm Arthur Morris: those whistling, Dennis Durst: or something? Arthur Morris: clapping Dennis Durst: Yeah. Charlie Davis: It's Arthur Morris: key rings Charlie Davis: it's Arthur Morris: you have. They're cheap. So it can't be that Charlie Davis: Um the it's based Arthur Morris: expensive. Charlie Davis: on this anti anti-theft Jason Puccio: Some sort of Arthur Morris: Yeah. Charlie Davis: technology Jason Puccio: proximity Charlie Davis: 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. Arthur Morris: Yeah. Charlie Davis: 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 Arthur Morris: stick it Charlie Davis: your Arthur Morris: on the T_V_. Charlie Davis: stick it behind your T_V_ and the other Jason Puccio: Pray that you don't accidentally lose that piece. Charlie Davis: 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. Arthur Morris: Yeah. Dennis Durst: So. Are we adding one of these two features? Charlie Davis: Let's Dennis Durst: gonna Charlie Davis: add Dennis Durst: say Charlie Davis: one of those features Dennis Durst: okay. Charlie Davis: and say yes. Jason Puccio: Okay. Dennis Durst: So we're back to a one? Or a two? Arthur Morris: Two. Charlie Davis: Two. Dennis Durst: Two, Jason Puccio: Two. Dennis Durst: 'kay. Okay. Are we technologically innovative? Charlie Davis: Uh Arthur Morris: I'd say so. Uh don't get many mo Charlie Davis: It's all Arthur Morris: remote Charlie Davis: just Arthur Morris: controls with screens on. Charlie Davis: It's all just stolen technology Arthur Morris: Yeah Dennis Durst: From Arthur Morris: it's stolen Dennis Durst: iPod Charlie Davis: when it Arthur Morris: technology. Charlie Davis: comes Jason Puccio: It's Dennis Durst: yeah. Charlie Davis: down to Arthur Morris: But we have. Jason Puccio: But Dennis Durst: But Jason Puccio: there's Dennis Durst: for Jason Puccio: not Dennis Durst: remotes Charlie Davis: right Jason Puccio: a lot of yellow, there's Dennis Durst: yeah. Jason Puccio: not a lotta yellow. Course Arthur Morris: Fa Charlie Davis: right Jason Puccio: that wasn't Charlie Davis: right Jason Puccio: really Charlie Davis: right. Jason Puccio: we were kinda forced to take that colour. Dennis Durst: Two? Three? Jason Puccio: I don't know that we Arthur Morris: 'cause it's Jason Puccio: are Arthur Morris: stolen. Jason Puccio: that innovative, Arthur Morris: No Jason Puccio: to Arthur Morris: maybe Jason Puccio: tell you Arthur Morris: not. Jason Puccio: the Charlie Davis: Yeah Jason Puccio: truth. Charlie Davis: not really. Dennis Durst: But how many remotes do you see like this? Not Jason Puccio: If Dennis Durst: so Jason Puccio: we Dennis Durst: many. Jason Puccio: added the screaming factor then we go up. Charlie Davis: Right. Jason Puccio: Um I would say we're probably at four. Dennis Durst: Really? Okay. That's gonna hurt us. Okay. Um spongy material? Charlie Davis: Yeah well you have that, Jason Puccio: We have some spongy, Charlie Davis: kind Arthur Morris: Yeah Charlie Davis: of, Arthur Morris: as Jason Puccio: yeah. Arthur Morris: much as Charlie Davis: sort of. Arthur Morris: as needed, I think. Dennis Durst: 'Kay. Charlie Davis: It's not a one though. Jason Puccio: No. Charlie Davis: One would be the whole thing Jason Puccio: Yeah. Because it's only got Charlie Davis: to fold and stuff. Jason Puccio: what, these parts are the grips and perhaps the back side the Charlie Davis: Yeah. Jason Puccio: bottom the underneath on Arthur Morris: Yeah. Jason Puccio: the back. Charlie Davis: So that's a four at Jason Puccio: Probably Charlie Davis: most. Jason Puccio: a four at most. Dennis Durst: And Jason Puccio: Possibly Dennis Durst: lastly, Jason Puccio: even a five. Dennis Durst: did we put the fashion in electronics? Charlie Davis: Y yes. Dennis Durst: I'd Arthur Morris: Yeah. Dennis Durst: say we did. Jason Puccio: If Charlie Davis: More Jason Puccio: your fashion is b is Carmen Miranda, you betcha. Arthur Morris: Yeah. Charlie Davis: Well the recent fashion is rather displayed in the Arthur Morris: On the Charlie Davis: in the L_C_D_ and Jason Puccio: It's Charlie Davis: the Jason Puccio: true. Charlie Davis: way you operate it than Arthur Morris: Yeah. Charlie Davis: the form and the colour, but it definitely is. Arthur Morris: Be what we were told, and they'd say yeah, definitely. Dennis Durst: 'Kay. Alright. Now we just gotta calculate. Six eight twelve sixteen. Seventeen divided by s Jason Puccio: Seven is Dennis Durst: Eight. Jason Puccio: Two point Jason Puccio: two point four? Arthur Morris: Is that some long division? No. Dennis Durst: Well I haven't Jason Puccio: Something. Dennis Durst: done math in years. What two I dunno. Arthur Morris: Just, I'm sure there's a. Dennis Durst: Okay we'll say two point four two. Right? How does that look? Charlie Davis: I'm impressed. I can't do that without a calculator. Arthur Morris: No I can't do long Dennis Durst: It's Arthur Morris: very Dennis Durst: been Arthur Morris: impressive. Dennis Durst: a while. Jason Puccio: And what what is the acceptable criteria? Is there like a scale that we have to hit? Dennis Durst: Oh no. They just told Dennis Durst to pick my own criteria and have you guys evaluate it basically. Jason Puccio: Alright then. Dennis Durst: So that's that. Jason Puccio: 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. Arthur Morris: 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. Dennis Durst: Oh my god. Okay. Arthur Morris: Two point four two basically. Dennis Durst: Yeah we'll go with that. Not Jason Puccio: So Dennis Durst: too shabby. Jason Puccio: I have here Charlie Davis: Fifty Jason Puccio: an Charlie Davis: percent, you're kidding. Jason Puccio: Yeah. Charlie Davis: P Jason Puccio: We want a fifty percent profit on this. Oh you can't really see that very well. Arthur Morris: Charge about three hundred quid for it. Jason Puccio: Twelve and a half Euros is what supposed to cost us. Okay, so Charlie Davis: It's too much. Jason Puccio: Well let's Charlie Davis: Um Jason Puccio: see. The f the Wonder if I can make this Charlie Davis: Uh Jason Puccio: What the Jason Puccio: Oh it won't let Dennis Durst 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 Charlie Davis: Battery. Jason Puccio: 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. Charlie Davis: Two. Jason Puccio: Two? Like it. Charlie Davis: At four it's gonna be too heavy, so that that's not our problem. People can change it every month. They won't Jason Puccio: Excellent. Charlie Davis: know until after they bought it. Jason Puccio: 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. Arthur Morris: We're advanced chip are we? Charlie Davis: That's the advanced chip-on-print, yeah. Jason Puccio: 'Kay, we have one of those. 'Kay then the case is a Probably it's double Charlie Davis: Double Jason Puccio: curved. Charlie Davis: curved, yes. Jason Puccio: Case materials are Charlie Davis: Plastic. Jason Puccio: plastic. Um I guess it's two, since one for the top, one for the bottom. Charlie Davis: N Jason Puccio: Is that right or is Charlie Davis: no. Jason Puccio: it just one? Charlie Davis: No that's just Jason Puccio: Maybe Charlie Davis: one. Jason Puccio: it's one because of the Charlie Davis: It's just one mo single mould, we can do that. Jason Puccio: 'Kay. Arthur Morris: Yeah yeah. Dennis Durst: Right. Jason Puccio: I guess it doesn't matter 'cause the price on that one is zero, which Charlie Davis: Exactly, Jason Puccio: is nice. Dennis Durst: Oh. Charlie Davis: right. Jason Puccio: Special colour? Charlie Davis: That's not a special colour. Dennis Durst: Bright Charlie Davis: It's Dennis Durst: yellow. Charlie Davis: a specially ugly colour, but it's not special. Jason Puccio: Interface type. We have pushbutton, Arthur Morris: S Jason Puccio: scroll-wheel interface, Charlie Davis: S Jason Puccio: integrated scroll-wheel pushbutton, and Arthur Morris: That's Jason Puccio: an L_C_D_ display. Arthur Morris: Yeah. Jason Puccio: So we actually have the L_C_D_ display Arthur Morris: And then Jason Puccio: and then is it the integrated or Arthur Morris: I'd Jason Puccio: is Arthur Morris: say Jason Puccio: it Arthur Morris: the integrated. Charlie Davis: Yes Jason Puccio: Yeah. Charlie Davis: unfortunately. Jason Puccio: 'Kay. Button supplement? Special colour? Arthur Morris: Mm. Jason Puccio: Um special form? Special material. Charlie Davis: We could of course make the buttons wood. Say mahogany or so Dennis Durst: It'd look really lovely. Jason Puccio: Or titanium. Charlie Davis: Mm-hmm or titanium. Dennis Durst: Yeah. Jason Puccio: They cost us all the same. Arthur Morris: remote control. Charlie Davis: Uh Jason Puccio: Well Charlie Davis: just Jason Puccio: we only have one button so really we shouldn't be charged, we Arthur Morris: No Jason Puccio: shouldn't Arthur Morris: that's Jason Puccio: be Arthur Morris: getting Jason Puccio: charged Arthur Morris: a bit Jason Puccio: anything for Arthur Morris: tiny. Jason Puccio: the the button supplements. Um Arthur Morris: Yeah. I'd ignore that. Dennis Durst: Leave it blank. Jason Puccio: 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 Charlie Davis: Yeah that's too much. Jason Puccio: is by three Euros over. Charlie Davis: It's hard to believe. So we'll go for the hand dynamo huh? Jason Puccio: So the only thing better than um Arthur Morris: If Jason Puccio: a banana-shaped Arthur Morris: it w Jason Puccio: remote is one that you shake. Arthur Morris: 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. Jason Puccio: Yeah 'cause the Well 'cause we have to have both right? Arthur Morris: Yeah. Charlie Davis: I mean let's let's face it, it also depends on the software on the Arthur Morris: Yeah. Charlie Davis: on the television. You can have the the information that this thing transmits be being displayed on the on the screen. Jason Puccio: Mm-hmm. Charlie Davis: So s yeah let's take Arthur Morris: Yeah Charlie Davis: away the Arthur Morris: you could maybe take out the L_C_D_ dis display Charlie Davis: Yeah. Arthur Morris: even, Charlie Davis: Yeah. Arthur Morris: if it if it comes up on the computer itsel on the T_V_ itself. Charlie Davis: Right. Jason Puccio: So we may not need the L_C_D_ display? Arthur Morris: Uh that is possible yeah. Charlie Davis: Right. We may not need it. There you go. Jason Puccio: Well there Charlie Davis: Perfect. Jason Puccio: we go. Arthur Morris: There we go. Jason Puccio: Twelve Dennis Durst: Perfect. Jason Puccio: point five. Okay. So we just remove our Arthur Morris: Screen. Jason Puccio: screen here. Arthur Morris: Make it a bigger dial. Easier to use. Even easier to use then. Jason Puccio: Besides look at what the L_C_D_ does to our lovely remote. Charlie Davis: Okay, the Jason Puccio: Back to the design room boys. Charlie Davis: So we can just take away a heck of a lot of the there you go. Dennis Durst: What's the blue part? Charlie Davis: central? Arthur Morris: That was just Dennis Durst: Oh that's Charlie Davis: Oh that's Dennis Durst: the Arthur Morris: we Dennis Durst: batteries. Charlie Davis: just Arthur Morris: ran out of yellow. Charlie Davis: yeah. Dennis Durst: Okay. Charlie Davis: There you go. Arthur Morris: There you go. Charlie Davis: Oops. Arthur Morris: Even simpler. Dennis Durst: Looks more like a banana. Arthur Morris: Yeah. For all those Charlie Davis: There Arthur Morris: fruit Charlie Davis: you go. Arthur Morris: lovers Charlie Davis: One more Arthur Morris: out Charlie Davis: criteria. Arthur Morris: there. Jason Puccio: Okay so the costs under twelve point five Euro. Was no. We redesigned it. Arthur Morris: Yeah. Jason Puccio: 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. Jason Puccio: I think that perhaps the project evaluation's just supposed to be completed by Dennis Durst. But I'd like to hear your thoughts. Dennis Durst: Trying to fill in some Charlie Davis: Fair Dennis Durst: time Charlie Davis: enough. Dennis Durst: there. Jason Puccio: Uh h what did you think of our project process? Charlie Davis: Great. Arthur Morris: we did yeah I think we did quite well. Charlie Davis: Yeah. Arthur Morris: Um Jason Puccio: Good. Dennis Durst: Good teamwork. Charlie Davis: Just half a day, you have a remote. Arthur Morris: Yeah. Charlie Davis: There you go. Arthur Morris: Right from the start of the day. Jason Puccio: Yeah I Arthur Morris: We Jason Puccio: think Arthur Morris: sort of knew where we were going straight away I thought. Jason Puccio: 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 Arthur Morris: Yeah. Jason Puccio: was the whiteboard Arthur Morris: We've Jason Puccio: and Arthur Morris: used Jason Puccio: the pens. Arthur Morris: the whiteboard. Charlie Davis: Super super. Jason Puccio: I had some problem with the pen I think, Dennis Durst: Minus Jason Puccio: but Dennis Durst: your PowerPoint fiasco. Charlie Davis: Well Jason Puccio: minus your Charlie Davis: that's Jason Puccio: p Charlie Davis: not my fault. That's Dennis Durst: No Charlie Davis: obviously Dennis Durst: I know. Charlie Davis: the Dennis Durst: I'm Charlie Davis: people I work for uh Dennis Durst: yeah. Jason Puccio: Well Charlie Davis: that work Dennis Durst: Incom Charlie Davis: for Dennis Durst, uh they've just you know Jason Puccio: Have a Charlie Davis: are gonna roll, believe Jason Puccio: we Charlie Davis: Dennis Durst. Jason Puccio: have a list of employees that you would like fired. Charlie Davis: Yes yes. Jason Puccio: Okay. N new ideas found? Um Dennis Durst: Mm. Kinda. Jason Puccio: Yes for the remote. Maybe no not f for Arthur Morris: Technology used. Jason Puccio: technology. Alright. Closing. Costs are within the budget. Project is evaluated. Um complete the final questionnaire and meeting summary. That's it. Arthur Morris: Excellent. Jason Puccio: And I still have to do my minutes for the last meeting. Actually. Um so there will probably be another questionnaire coming up. Dennis Durst: We might have Jason Puccio: And Dennis Durst: a while Jason Puccio: then we'll have Dennis Durst: though. Jason Puccio: to check with the main boss whether we can, what goes on after that. But that's the end of our meeting.

Jason Puccio opened the meeting and read the minutes of the previous meeting. Charlie Davis and user interface designer presented the prototype they created, which was designed to look like a banana. Dennis Durst 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. Jason Puccio 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

John Strong: Right first time this time. Nu There we go. It's not that complicated, but I get it wrong every time. Max Santos: Okay so we are just waiting for John Strong: For Max Santos: Matthew. John Strong: Matthew, yep. Edwin Hedge: Mm. Edwin Hedge: Uh Edwin Hedge: So I suggest we start the uh without John Strong: Mm-hmm. Edwin Hedge: Matthew uh Max Santos: Mm 'kay. Edwin Hedge: 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 John Strong: Mm-hmm. Edwin Hedge: 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. John Strong: Mm-hmm. Edwin Hedge: Um we will have the presentations of y of you different John Strong: Yep. Edwin Hedge: team members, Max Santos: Yep. Edwin Hedge: and then to come decisions concepts uh have. So and Max Santos: Mm-hmm. Edwin Hedge: that uh will uh we have some uh forty minutes uh to complete this John Strong: Mm-hmm. Edwin Hedge: uh. So um who has the fir do you ha Anna John Strong: I have Edwin Hedge: do you John Strong: a Edwin Hedge: have John Strong: presentation, Edwin Hedge: your presentation John Strong: I'm just Max Santos: Yeah Edwin Hedge: ready? John Strong: making Max Santos: I John Strong: this Max Santos: think yeah Edwin Hedge: Okay. Max Santos: the Matthew it is it's important that Matthew yeah is here because Edwin Hedge: Ah there is Matthew. Max Santos: it's really a a team uh project with a team and if someone is not Bobby Thornton: Sorry. Max Santos: here then we cannot but it's okay it's good. John Strong: Okay I'll just email you this file, my presentation. Edwin Hedge: So. Good. Do presentation ready? John Strong: Mm-hmm I'm just emailing it to you. Edwin Hedge: Oh okay. Bobby Thornton: So Edwin Hedge: So did you manage uh Bobby Thornton: Yeah I sent you the slides you didn't see them? Edwin Hedge: Oh yes I see him, Bobby Thornton: Okay. Edwin Hedge: good yes. No. Bobby Thornton: So 'Kay. John Strong: Okay it should've gone through to you. Edwin Hedge: Okay mm yes I have it. John Strong: 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 Edwin Hedge: Mm. John Strong: eye-catching, really bold designs, Max Santos: Mm-hmm. Edwin Hedge: Mm. John Strong: 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. Edwin Hedge: Hmm. John Strong: Um. Max Santos: So can you repeat and be more precise about what you just said? Edwin Hedge: Spongy Max Santos: Uh Edwin Hedge: feel? Max Santos: about the feeling yeah uh John Strong: Well Max Santos: yo John Strong: ma Bobby Thornton: You John Strong: make Bobby Thornton: can John Strong: 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 Max Santos: Okay. John Strong: soft or something, that'll be something that sets it apart, Edwin Hedge: Mm. John Strong: rather than just bare plastic which they all are at the moment. Max Santos: Yeah. Edwin Hedge: Okay. John Strong: 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 Edwin Hedge: Mm-hmm. John Strong: 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 Max Santos: Yeah John Strong: to maybe Max Santos: that's a very good yeah. John Strong: to fit in with their decor in their living room, or just what they like, Max Santos: Yeah. John Strong: 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. Max Santos: Mm-hmm. John Strong: 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 Edwin Hedge: Mm. John Strong: maybe, by themselves, Edwin Hedge: Yes well maybe John Strong: and Edwin Hedge: Matthew John Strong: then Edwin Hedge: can can John Strong: yeah Bobby Thornton: Yeah. Edwin Hedge: give John Strong: and Edwin Hedge: some John Strong: then Edwin Hedge: more John Strong: th Edwin Hedge: information John Strong: th the Edwin Hedge: on John Strong: finer Edwin Hedge: the John Strong: details of buttons you don't use as much either hidden away or completely separate. Edwin Hedge: Mm. Bobby Thornton: Voila. John Strong: Yep and that's the presentation. Edwin Hedge: Okay good, that's very clear. Max Santos: Yeah Bobby Thornton: Yeah. Max Santos: very clear. Edwin Hedge: 'Kay. Um. John Strong: So does anyone have any comments Edwin Hedge: Uh John Strong: or ideas on that? I think you Edwin Hedge: 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 Max Santos: To let the people choose, Edwin Hedge: Yes Max Santos: you mean? Edwin Hedge: the the Max Santos: Yeah. Edwin Hedge: 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 John Strong: Hmm. Edwin Hedge: it would be uh very complicated uh organisational John Strong: Well we're selling so many units of this. This is gonna be a mass marketed product, Edwin Hedge: Hmm. John Strong: we can afford to have two Edwin Hedge: Mm-hmm. John Strong: or three different designs Max Santos: Yeah John Strong: at least. Max Santos: a range of uh yeah, Edwin Hedge: Yes. Max Santos: a set John Strong: Mm Max Santos: of three, four different John Strong: mm. Max Santos: aspects. Edwin Hedge: Mm-hmm. Max Santos: Sure Edwin Hedge: Yes Max Santos: that fits the Edwin Hedge: and of course it will be a we we get a if it works we can get uh after-sales John Strong: Mm. Edwin Hedge: I mean that would would be very good I mean Max Santos: Yeah. Edwin Hedge: those covers could go for for three, five Euro. John Strong: Mm. Edwin Hedge: That's a very good idea um And then uh maybe uh we can go a th Matthew's presentation because Bobby Thornton: Yeah s John Strong: Mm-hmm. Edwin Hedge: the Bobby Thornton: then we could discuss later like we can put all ideas together. Edwin Hedge: Together indeed John Strong: Mm. Edwin Hedge: uh, Max Santos: Yeah Edwin Hedge: because Bobby Thornton: It should Edwin Hedge: you Max Santos: yeah Bobby Thornton: be Edwin Hedge: ma Bobby Thornton: easier Edwin Hedge: might Max Santos: I Edwin Hedge: have Bobby Thornton: with Max Santos: agree. Edwin Hedge: some Bobby Thornton: that. Edwin Hedge: some information on the the easy to use, what Bobby Thornton: Yeah. John Strong: Mm-hmm, Edwin Hedge: you were Max Santos: Yeah. John Strong: yeah. Edwin Hedge: already mentioning. Max Santos: And Bobby Thornton: So Max Santos: your part is very related to mine because Bobby Thornton: Yeah. Max Santos: when you suggest something then it Bobby Thornton: Yeah Max Santos: has to Bobby Thornton: so Max Santos: be integrated inside. Bobby Thornton: I'll I'll go with that actually John Strong: Mm-hmm. Bobby Thornton: so um Bobby Thornton: 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 Max Santos: Yeah. Bobby Thornton: ha John Strong: Mm-hmm. Bobby Thornton: 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 John Strong: Mm. Bobby Thornton: 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 John Strong: Mm. Bobby Thornton: 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. John Strong: 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. Bobby Thornton: Yeah John Strong: That's a good idea. Bobby Thornton: 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 John Strong: Mm. Bobby Thornton: exact channel numbers ex Max Santos: Yeah. Bobby Thornton: exactly, even if you arrange it by however you arrange it, John Strong: Hmm. Bobby Thornton: you still have the problem to John Strong: Mm. Bobby Thornton: remember exactly John Strong: Yeah I really Bobby Thornton: which John Strong: like that idea. Bobby Thornton: channel Max Santos: So Bobby Thornton: you Max Santos: what Bobby Thornton: want Max Santos: functionalities Bobby Thornton: to Max Santos: do you suggest for that? For Bobby Thornton: So Max Santos: facing Bobby Thornton: it Max Santos: this Bobby Thornton: it Max Santos: problem? Bobby Thornton: 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, John Strong: Mm-hmm. Bobby Thornton: 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 John Strong: Mm. Bobby Thornton: remote control, you want to st store your favourite channel. John Strong: Maybe ten channels, Bobby Thornton: Yeah John Strong: yeah Bobby Thornton: some John Strong: at the most. Bobby Thornton: ten twelve channel information. You Max Santos: Okay. Bobby Thornton: know you don't want to st store all the hundred John Strong: Mm. Bobby Thornton: 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 John Strong: Mm-hmm. Max Santos: Mm-hmm. Bobby Thornton: it is, instead of having three keys separately Max Santos: Oh yeah yeah yeah Bobby Thornton: for four Max Santos: mm. Bobby Thornton: keys, to model the functionalities John Strong: Mm. Bobby Thornton: will increase actually, Max Santos: Mm. Bobby Thornton: and for you and you might want John Strong: Mm. Bobby Thornton: 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. Max Santos: Mm-hmm. Bobby Thornton: 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 John Strong: Mm-hmm. Bobby Thornton: 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 John Strong: Mm Bobby Thornton: if you John Strong: b Bobby Thornton: say hello coffee machine, it say hi Joe, or something like that, you know, and John Strong: But a coffee Bobby Thornton: uh John Strong: machine, there's not too many words they'd be using with that it's a Bobby Thornton: Yeah John Strong: it's Bobby Thornton: you you John Strong: a Bobby Thornton: won't John Strong: small Bobby Thornton: be John Strong: vocabulary. Bobby Thornton: using it, so it's a limited vocabulary John Strong: Mm. Bobby Thornton: mm thing, and very isolated word and John Strong: Mm. Bobby Thornton: it's uh it is interesting, and basically storing the channel through voice or other ways of programming your keys, John Strong: Mm. Bobby Thornton: 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 John Strong: Mm. Bobby Thornton: you you have enough battery in your in your uh remote, Max Santos: Yeah. Bobby Thornton: the blinking. At the same time, if it's a dark room, it can be used to locate the remote also or Max Santos: And you want okay for coming back to one John Strong: Two thirty Max Santos: point John Strong: five supposed Max Santos: y John Strong: to Max Santos: you John Strong: finish. Max Santos: want to let the user to programming the keys? Some of them? Bobby Thornton: Yeah you can let them to do Max Santos: And Bobby Thornton: that. Max Santos: 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, John Strong: Hmm. Max Santos: that's the Bobby Thornton: N no but the Max Santos: compromise. Bobby Thornton: if you give it d depends on the easiness like Max Santos: Yeah. Bobby Thornton: the user how much effort he can put. John Strong: Hmm. Bobby Thornton: Like for example uh I would like to store in certain way, so if you want to give the full freedom to the user John Strong: Mm. Bobby Thornton: or Max Santos: Yeah. Bobby Thornton: you want to keep some constraints John Strong: Yeah. Bobby Thornton: and let the user use John Strong: Mm. Bobby Thornton: it with that constraint. Max Santos: Yeah. John Strong: I think Bobby Thornton: So John Strong: you can Bobby Thornton: it John Strong: do Bobby Thornton: de John Strong: it both ways. You can have it so it's easy they can pick it up and use it straight away without Max Santos: A standard. John Strong: doing anythi without customizing it, Max Santos: Yeah. John Strong: or if they want to they have the option of using these extra features. Edwin Hedge: Um yes Bobby Thornton: So Max Santos: Yeah. Edwin Hedge: 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 John Strong: Hmm. Edwin Hedge: to have Bobby Thornton: So Edwin Hedge: Every time I have to come down on this price John Strong: Hmm. Edwin Hedge: again to so this might be a little limiting for your creativity, but John Strong: Hmm. Edwin Hedge: it's it's it's the real We have to consider it. S so Max Santos: Yeah. Edwin Hedge: 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 John Strong: Mm. Edwin Hedge: like the uh uh the the the furry uh uh case of John Strong: Hmm. Edwin Hedge: the Max Santos: Mm-hmm yeah like I would say that for programming uh keys, you Bobby Thornton: Yeah. Max Santos: said, uh it could be uh easily uh done within the the package of twel twelve Euros, Edwin Hedge: Mm. Bobby Thornton: Yeah. Max Santos: but for the A_S_R_ system, uh I'm not sure if it's feasible to have Bobby Thornton: We Max Santos: this or Bobby Thornton: well we can still look Max Santos: We Bobby Thornton: at we can talk with the coffee unit and you can uh check Max Santos: Exactly Bobby Thornton: how much Max Santos: yeah Bobby Thornton: how Max Santos: i Bobby Thornton: much Max Santos: if if Bobby Thornton: they Max Santos: it's a low vocabulary Bobby Thornton: yeah Max Santos: it's already Bobby Thornton: yeah Max Santos: implemented, John Strong: Mm. Bobby Thornton: yeah. Max Santos: and w how much it's cost, maybe with Bobby Thornton: Maybe Max Santos: a f Bobby Thornton: we can come Max Santos: cheap chip. Edwin Hedge: Mm Bobby Thornton: we we can Edwin Hedge: mm. Bobby Thornton: talk to them, and we can come with that, you know. Max Santos: Yeah. Bobby Thornton: 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 John Strong: Hmm. Bobby Thornton: could be a blinking option of L_E_D_ Edwin Hedge: Hmm. Bobby Thornton: it could actually Max Santos: Yeah. Bobby Thornton: be used to detect also. If it's in a dark room you can basically John Strong: Mm. Bobby Thornton: detect it also. John Strong: Hmm. Max Santos: Yeah. Edwin Hedge: Hmm. Bobby Thornton: So Edwin Hedge: Mm. John Strong: 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 Bobby Thornton: No actually John Strong: if they light up or Bobby Thornton: i John Strong: something. Bobby Thornton: if i it is like you know it tells you um, it can be for two purposes, John Strong: Mm. Bobby Thornton: like if you have an L_C_D_ display and all those things John Strong: Mm. Bobby Thornton: it's not going to be the standard remote, John Strong: Hmm. Bobby Thornton: which is having uh which need just uh six six volt uh John Strong: Mm. Bobby Thornton: 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 Max Santos: Mm. Bobby Thornton: you need that, some functionality to indicate the battery John Strong: Hmm. Bobby Thornton: limit. Max Santos: It's true. Bobby Thornton: And then if the battery limit is indicated, if it could be ind indicated through a blinking something John Strong: Mm. Bobby Thornton: 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. Max Santos: Mm-hmm. Bobby Thornton: You know. Edwin Hedge: 'Kay good. Bobby Thornton: Yeah so Max Santos: I don't know how if if I have time to talk about the Edwin Hedge: Mm yes um Bobby Thornton: You you have Edwin Hedge: I would Bobby Thornton: time some more? Yep. Edwin Hedge: Yes yes you can you can still. We have time. Bobby Thornton: Sure you can you know. Max Santos: 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, John Strong: Mm-hmm. Max Santos: 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 Edwin Hedge: Nice. Max Santos: Two different ways Bobby Thornton: Hmm. Max Santos: 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, Bobby Thornton: Mm-hmm. Edwin Hedge: Mm-hmm. Max Santos: 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 Bobby Thornton: Yeah Max Santos: F_P_G_A_ Bobby Thornton: mm mm-hmm. Max Santos: 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 Bobby Thornton: Mm-hmm. Max Santos: 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 John Strong: Mm. Max Santos: you said that yeah you had some ideas uh like fruit, veg or I Edwin Hedge: Well Max Santos: dunno. Edwin Hedge: well m m maybe Max Santos: Yes. Edwin Hedge: m maybe we can give the uh the uh the case a very uh uh normal a v very normal case but, Max Santos: Yes. Edwin Hedge: with the changeable covers to fancy it up. John Strong: Mm-hmm. Edwin Hedge: So like a normal cheap plastic case John Strong: Mm-hmm. Bobby Thornton: Yeah. Edwin Hedge: which can Max Santos: Yes. Edwin Hedge: be covered up in, for instance, a wooden case. I John Strong: Mm Edwin Hedge: mean just Max Santos: Yeah like Edwin Hedge: what John Strong: just Max Santos: they John Strong: have Max Santos: do John Strong: a Max Santos: in John Strong: yeah Max Santos: with cars I think. Yeah John Strong: Just Max Santos: inside John Strong: the veneer Max Santos: the car John Strong: on it, Max Santos: yeah. John Strong: yeah. Max Santos: So they also emailed John Strong that uh they have available a bunch of different buttons, a scroll wheels, integrated push buttons s such as a computer mouse. Bobby Thornton: Yeah. Max Santos: 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. John Strong: Hmm. Max Santos: 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, Edwin Hedge: Mm-hmm. Max Santos: 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 Bobby Thornton: Sorry. John Strong: Mm. Max Santos: 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. Edwin Hedge: Mm. Max Santos: So I I cannot design something without your agreement, Bobby Thornton: Yeah Max Santos: right? Edwin Hedge: No Bobby Thornton: so of course Edwin Hedge: of Bobby Thornton: for Edwin Hedge: course. Bobby Thornton: 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 Max Santos: Yes. Bobby Thornton: 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 Max Santos: Yeah it's kind of um Bobby Thornton: W what Max Santos: simple pro progra programmable device, Bobby Thornton: Okay. Max Santos: and we have to insert. I Bobby Thornton: Okay. Max Santos: think we could insert one that could underlie several functions of Bobby Thornton: Okay so in that case you can even look at the technology what the mobile phone is trying to use with the card. Max Santos: Exactly yeah, Bobby Thornton: Yeah where Max Santos: for Bobby Thornton: they do Max Santos: customizing Bobby Thornton: all the wi Max Santos: and Bobby Thornton: with Max Santos: yeah. Bobby Thornton: with them actually. Max Santos: Okay. Bobby Thornton: How f cost effective it would be to put that car chip into it and do the Max Santos: Yeah. Bobby Thornton: programmable Edwin Hedge: So Bobby Thornton: things. Max Santos: Yeah Edwin Hedge: So Max Santos: good Edwin Hedge: I Max Santos: idea. Edwin Hedge: f I think we we should come to some decisions now Max Santos: Yeah. Edwin Hedge: 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. Max Santos: Exactly yeah that's Edwin Hedge: Yes. Max Santos: a very good idea, we could have uh one main chip uh that Edwin Hedge: Mm-hmm. Max Santos: could handle, uh it's called F_P_G_A_ chip, Edwin Hedge: Mm-hmm. John Strong: Mm-hmm. Max Santos: that could handle both uh like scrolling wheels as well as uh L_C_D_ and yeah. Edwin Hedge: 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. Max Santos: Yes. Bobby Thornton: D well Edwin Hedge: Do you think that's feasible? Bobby Thornton: Well I don't know if it'll fit into our cost of twelve point five Euro Edwin Hedge: Uh Bobby Thornton: you know. Edwin Hedge: You th you think it's possible. Bobby Thornton: Is it possible to fit in Max Santos: Yeah Bobby Thornton: to Max Santos: also Bobby Thornton: that? Max Santos: thinking, I think both uh if we had a budget of twenty twenty Bobby Thornton: Sorry. Max Santos: uh Euros, it will be okay, Edwin Hedge: Hmm. Max Santos: but uh. John Strong: 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. Max Santos: Yeah Edwin Hedge: Mm Max Santos: that's an excellent idea. Edwin Hedge: yes wh when you make a a design ca you can next meeting you can give an quite Max Santos: Yeah Edwin Hedge: an exact cost price. Max Santos: yeah. Edwin Hedge: That w that John Strong: Mm. Edwin Hedge: would be Max Santos: Yeah Edwin Hedge: a very Max Santos: because right Edwin Hedge: good idea. Max Santos: now I don't have price in in head but Edwin Hedge: Mm. Max Santos: for next meeting I'm sure yeah be able Edwin Hedge: Good Max Santos: to Edwin Hedge: good. Bobby Thornton: Yeah that's uh Max Santos: do that. Bobby Thornton: that's something which I wanted to ask you also, like what will be the each individually the cost of it. Max Santos: Yeah. Bobby Thornton: For example if f if you want to put wood I wouldn't suggest for wood Max Santos: Okay. Bobby Thornton: uh 'cause it's I think it's m much easier to use a plastic or Max Santos: I Bobby Thornton: a Max Santos: agree Bobby Thornton: rubber Max Santos: on that. John Strong: Mm. Bobby Thornton: rather Max Santos: Yeah. Bobby Thornton: than wood. It will be much ch much expensive th though it's the most natural thing, but Edwin Hedge: Yes but I can I think uh I think we can just use more cheap plastic for a kind of basic edition, and Bobby Thornton: Yeah. Edwin Hedge: then John Strong: Hmm. Edwin Hedge: people can fancy it up with with more expensive materials Bobby Thornton: Yeah it's Edwin Hedge: which Bobby Thornton: uh Edwin Hedge: which come with a with Bobby Thornton: Yeah Edwin Hedge: another price. Bobby Thornton: 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 Edwin Hedge: Do do you agree? Max Santos: Yeah but i John Strong: Mm Max Santos: it's John Strong: yeah Max Santos: a detailed John Strong: sure. Max Santos: uh yeah yeah uh plastic versus uh Bobby Thornton: Yeah. Max Santos: 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, Bobby Thornton: Yeah. Max Santos: and maybe with uh graphs or I don't know uh User Interface Designer you could maybe uh help us on that. Edwin Hedge: Ma I I think uh for next meeting we c you Max Santos: Yeah. Edwin Hedge: two can present a real Bobby Thornton: Yea Edwin Hedge: design. John Strong: Mm-hmm. Bobby Thornton: Okay. Edwin Hedge: Uh so drawing it on the board. Max Santos: Perfect yeah. Edwin Hedge: 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, Bobby Thornton: Yeah sure. Edwin Hedge: one one Bobby Thornton: Yeah we will Edwin Hedge: one Bobby Thornton: uh Edwin Hedge: less advanced and one more advanced and Max Santos: Yeah. Edwin Hedge: with the Bobby Thornton: Yeah. Edwin Hedge: cost price. John Strong: Mm. Edwin Hedge: Uh Bobby Thornton: Uh. Edwin Hedge: furthermore we go for the for the uh basic plastic case John Strong: Mm. Bobby Thornton: Yeah. Edwin Hedge: But that that that that can be done later. Max Santos: Yeah customized. Edwin Hedge: We now can concentrate on the on the basic John Strong: Mm. Edwin Hedge: remote control. Um. Bobby Thornton: 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, Max Santos: Yeah. Edwin Hedge: Mm. Bobby Thornton: 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 John Strong: So is there any Bobby Thornton: to John Strong: of these that you're looking at particularly or is this Bobby Thornton: Oh John Strong: just Bobby Thornton: you John Strong: ideas? Bobby Thornton: can actually, for example, if you see, they are they are they are quite small over here, John Strong: Mm-hmm. Bobby Thornton: and uh now you can, for example, as I was if John Strong: Hmm. Bobby Thornton: you make them big, it may change the look of the thing John Strong: Mm. Bobby Thornton: also to the people. At the John Strong: Mm. Bobby Thornton: same Edwin Hedge: Mm-hmm. Bobby Thornton: time, it is m more uh like it would be more interesting for people who are having this R_S_I_ and all John Strong: Mm Bobby Thornton: problem. Edwin Hedge: Yes yes yes bi John Strong: yeah. Edwin Hedge: big keys is Bobby Thornton: Uh big keys Edwin Hedge: is Bobby Thornton: may Edwin Hedge: good Bobby Thornton: better Edwin Hedge: thing John Strong: You see? Edwin Hedge: I think. Bobby Thornton: for them actually and uh Max Santos: I agree yeah, and John Strong: Yeah. Max Santos: not too m too many keys of course yeah. Edwin Hedge: No John Strong: Mm Edwin Hedge: no. Bobby Thornton: Yeah. John Strong: 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, Edwin Hedge: Mm John Strong: and Edwin Hedge: mm mm. John Strong: then you can slide the cover back to get to the the more advanced keys. Edwin Hedge: Mm Bobby Thornton: Yeah. Edwin Hedge: 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 John Strong: Mm. Edwin Hedge: don't use. So maybe it's possible uh, I don't know whether you can can indicate this, that you can Max Santos: Yeah. Edwin Hedge: elsewhere open your remote John Strong: Mm. Edwin Hedge: control and on the inside John Strong: Yeah. Edwin Hedge: are uh buttons you John Strong: Um Edwin Hedge: don't John Strong: yeah Edwin Hedge: use that much. John Strong: I've seen that before Bobby Thornton: Yeah. John Strong: too. Anoth another like b it flips up and then you've got Edwin Hedge: Yes. John Strong: another Bobby Thornton: Yes. John Strong: layer of buttons underneath. Bobby Thornton: Yeah so it's something like this, the model here s John Strong: Mm. Max Santos: Mm. Bobby Thornton: you can put the John Strong: But Bobby Thornton: keys Max Santos: That's what you John Strong: I've Max Santos: mean? John Strong: seen also with keys and buttons on the top Edwin Hedge: Yes John Strong: of here as well. Bobby Thornton: Yeah. Edwin Hedge: I I Bobby Thornton: Yeah. Edwin Hedge: th that's what I mean so I mean something like like John Strong: I Edwin Hedge: a John Strong: like Edwin Hedge: book. John Strong: this one. I like the shape of this one. Bobby Thornton: Yeah. John Strong: Can we have can we think Max Santos: Yeah John Strong: about maybe Max Santos: I like John Strong: having Max Santos: also John Strong: a Max Santos: this John Strong: a Max Santos: one. John Strong: non-recta non non-rectangular one, so with not just the straight little box that's a Max Santos: Yeah, John Strong: maybe curved Bobby Thornton: Yeah, Max Santos: the point John Strong: or Bobby Thornton: mm. Max Santos: is John Strong: something. Max Santos: w maybe we need to also to make a decision on how how how big we want to be and how many buttons John Strong: Mm Max Santos: like John Strong: mm Max Santos: n we John Strong: 'kay. Max Santos: should dec Bobby Thornton: We John Strong: Is this Bobby Thornton: should John Strong: for the Bobby Thornton: make John Strong: next Max Santos: decide Bobby Thornton: a John Strong: meeting though? I think we might be out of time Max Santos: numbers Edwin Hedge: Mm. Max Santos: or John Strong: out of time for this meeting. Bobby Thornton: Yeah that yeah next meeting we should be Max Santos: Okay. Edwin Hedge: Ju just make two designs, Bobby Thornton: Yeah that Max Santos: Yeah Bobby Thornton: would Max Santos: yeah Bobby Thornton: depend Max Santos: yeah. Bobby Thornton: upon us actually. Edwin Hedge: and the we we can decide decide between th those designs. John Strong: Yep. Bobby Thornton: Yeah Edwin Hedge: I Bobby Thornton: okay. Edwin Hedge: think that would be Max Santos: Perfect. Edwin Hedge: a good idea. So anyone uh any questions Bobby Thornton: No Edwin Hedge: for now? Bobby Thornton: no. John Strong: No. Bobby Thornton: I don't have. John Strong: So is this is there anything else I need to do from a marketing point of view for the next meeting? Edwin Hedge: Um yes I come to that uh uh Bobby Thornton: 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. Edwin Hedge: Yes well m maybe uh, I don't know whether that's possible, maybe you John Strong: Mm. Edwin Hedge: can start evaluating uh their work somehow. John Strong: Okay well is this John Strong designing a way to evaluate it so Thinking about how to set up test groups and things? Edwin Hedge: I don't know whether that's possible uh John Strong: Mm. Edwin Hedge: in the given time but a as far as possible. John Strong: Okay. Edwin Hedge: So John Strong: Yep. Edwin Hedge: uh you two will be together Max Santos: Exactly. Edwin Hedge: w working on Bobby Thornton: Mm. Edwin Hedge: a o on two prototypes Max Santos: Yeah. Edwin Hedge: and further instructions will be uh will be sent to you by uh by Max Santos: Two Edwin Hedge: email. Max Santos: or three Bobby Thornton: Two. Max Santos: prototypes? Edwin Hedge: Two. Max Santos: Two? Bobby Thornton: One for like cost Edwin Hedge: I Bobby Thornton: and the one with like higher-end Max Santos: Okay. Edwin Hedge: Mm John Strong: Mm. Bobby Thornton: so that Edwin Hedge: and then Bobby Thornton: then we can be easily comparing them Max Santos: Yeah Bobby Thornton: or Edwin Hedge: Hmm. Max Santos: and find Bobby Thornton: you Max Santos: maybe Bobby Thornton: know Max Santos: a compromise. Bobby Thornton: find a compromise John Strong: Hmm. Bobby Thornton: between both of them, Edwin Hedge: Yes Bobby Thornton: yeah Edwin Hedge: okay. Bobby Thornton: that's how it is. Max Santos: Perfect John Strong: Mm-hmm. Max Santos: yeah. Bobby Thornton: Yep. Edwin Hedge: Okay let's call this to an end. John Strong: Mm Bobby Thornton: Okay. John Strong: 'kay. Thanks guys. Max Santos: Thanks. Bobby Thornton: So we are done for now.

Then Edwin Hedge opens the meeting announcing that they will address conceptual design and then giving the agenda. Matthew arrives late and John Strong 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. Max Santos 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. Edwin Hedge closes the meeting by telling each group member what his/her tasks will be until the next meeting.

amisum

train

Stephen Johnson: Did you get my email with the slides? Stephen Johnson: Ah. Tricky. Elmo Cardona: I guess I have to change the pen otherwise Will. be completely Stephen Johnson: Dunno. Elmo Cardona: different. Stephen Johnson: Maybe they're supposed the pen's supposed to go over the seats. Might be seat floor rather than person. Yeah, put it back. Elmo Cardona: Yeah. And do you think it's. Stephen Johnson: Yep. Yeah. Jo's making faces at Stephen Johnson. Sam Mcmahan: Okay. Elmo Cardona: Yeah. Sam Mcmahan: So. Matthew is uh late again. Stephen Johnson: Mm-hmm. Sam Mcmahan: Probably an important man. Um. So well it is important for him to be here uh. Elmo Cardona: Yeah. So what can Sam Mcmahan: He Elmo Cardona: you? Sam Mcmahan: he he You Elmo Cardona: Yeah we Sam Mcmahan: did Elmo Cardona: will Sam Mcmahan: work together didn't Elmo Cardona: yeah, Sam Mcmahan: you? Elmo Cardona: so I will be able to to summarize uh our meeting, but Sam Mcmahan: Yes. Elmo Cardona: still I think uh it would be in very important if the uh as um main designer. I think we can put on the here. Sam Mcmahan: Yes. Yes. Elmo Cardona: Uh basically w yeah we we designed the two uh items. Sam Mcmahan: Mm. Um Elmo Cardona: Um, Sam Mcmahan: yes but w we Elmo Cardona: have a phone, can someone Sam Mcmahan: Yes, maybe we should phone him. Elmo Cardona: it's really Sam Mcmahan: Um Elmo Cardona: w well Sam Mcmahan: well Elmo Cardona: designed. Stephen Johnson: Mm. Sam Mcmahan: Um, Stephen Johnson: Mm, Sam Mcmahan: when he is not here Stephen Johnson: object Sam Mcmahan: we will Stephen Johnson: tracking. Sam Mcmahan: just we just have to continue. Um so Elmo Cardona: Yeah. Sam Mcmahan: just for record I I will take uh notes again. Stephen Johnson: Okay. Sam Mcmahan: And um well first thing uh I was uh uh I got an email from uh from my superior again that we really should stay within the budget of the Elmo Cardona: 'Kay. Sam Mcmahan: uh twelve Euro and fifty cents. It's uh well he said to Stephen Johnson well uh when you stay in it's good, when you don't stay in you have to redesign. There is no uh no negotiation uh possible in this matter. So we have to consider that. Elmo Cardona: Yep. Sam Mcmahan: Good. Um so maybe Anna, you can have your Stephen Johnson: Well Sam Mcmahan: presentation. Stephen Johnson: we can't no we can't do evaluation 'til we have a design. Sam Mcmahan: Okay Matthew. Nice uh you are here. Elmo Cardona: Great. Sam Mcmahan: Great. Great. Oh ma maybe then you can start now with mm presenting your uh your designs. Elmo Cardona: Yep. So I will start by the the basic one that uh fits into uh eight Euros actually, Stephen Johnson: Mm-hmm. Elmo Cardona: right, seven eight Euros, and uh well first for both they have um a special shape, maybe the designer can uh explain better than Stephen Johnson, but uh it's like a surf board. And Stephen Johnson: Mm 'kay. Elmo Cardona: you you are supposed to surf to browse to surf T_V_, maybe the web, and uh it's kind of interesting shape because um unconsciously people want to s to surf when Keith Henderson: Or Elmo Cardona: they see Keith Henderson: browse. Elmo Cardona: this stuff. And also it's not too far from um a mobile. Sam Mcmahan: Mm. Stephen Johnson: Mm-hmm. Elmo Cardona: So Keith Henderson: Mm. Elmo Cardona: people are used to that kind of shape, Stephen Johnson: Mm-hmm. Elmo Cardona: right. Don't take care too much about the colour because w yeah Keith Henderson: Now we are Elmo Cardona: we don't Keith Henderson: to give Elmo Cardona: take Keith Henderson: some oper Elmo Cardona: yeah. Keith Henderson: offers right now. Elmo Cardona: So here would be basically the the the infrared uh Sam Mcmahan: Eye. Stephen Johnson: Mm-hmm. Elmo Cardona: uh Keith Henderson: I yeah. Elmo Cardona: led yeah L_A_ L_A_ L_E_D_, Keith Henderson: L_E_D_. Elmo Cardona: the on-off button, in Stephen Johnson: Mm-hmm. Elmo Cardona: red. Here would be the volume. Stephen Johnson: Oh yeah. Elmo Cardona: On the on the Sam Mcmahan: Uh-huh. Elmo Cardona: left, Keith Henderson: Mm-hmm, Elmo Cardona: okay, Keith Henderson: hmm. Elmo Cardona: so easy Sam Mcmahan: Yes. Elmo Cardona: to turn on t and off. And um so this is a very cheap version so there are maybe you can carry on uh Matthew. Keith Henderson: Also so you have uh uh browsing the channels, actually so you Stephen Johnson: Mm-hmm. Keith Henderson: can go up and down Stephen Johnson: Yeah. Keith Henderson: the channels, uh, if you have a video or something you can forward, Elmo Cardona: How can Keith Henderson: back. Elmo Cardona: you change from V_C_R_ to uh T_V_, by the way? Keith Henderson: Oh no no no, this is a single this this is a model with just the T_V_ one. Elmo Cardona: Okay yeah. Keith Henderson: No Elmo Cardona: Yeah Keith Henderson: no Sam Mcmahan: Ah, Keith Henderson: just sorry, Sam Mcmahan: okay. Keith Henderson: this Elmo Cardona: yeah. Keith Henderson: is a standard T_V_ one we, are not talking about that. So and then we have usually there twelve keys but we know that we rel that we have only ten digits. Stephen Johnson: Mm-hmm. Keith Henderson: The extra two are for uh having or giving an option for uh having more than one channel. And the other one is for the teletext or something you want to Elmo Cardona: Yeah. Keith Henderson: browse through from that. Sam Mcmahan: Mm-hmm. Stephen Johnson: Okay Keith Henderson: Actually. Stephen Johnson: so it's it's t a very basic remote then, it's Keith Henderson: It's Stephen Johnson: only Keith Henderson: a very basic minimal Stephen Johnson: Mm. Keith Henderson: thing which you Sam Mcmahan: Yeah. Keith Henderson: can Sam Mcmahan: Yeah. Keith Henderson: which Sam Mcmahan: Yeah. Keith Henderson: is which is also available in the market, actually that's what it that it i and would cost us Sam Mcmahan: Mm. Keith Henderson: to build it Stephen Johnson: Mm. Elmo Cardona: Seven, Keith Henderson: about eight Elmo Cardona: eight, ei Keith Henderson: Euros. Elmo Cardona: eight Euros. Sam Mcmahan: Exce except for the for the special shape, the surfing board, it has a quite Keith Henderson: Yeah. Sam Mcmahan: a a conventional layout of buttons Keith Henderson: Yeah. Sam Mcmahan: uh. Elmo Cardona: Yeah. Keith Henderson: So this one model and uh Stephen Johnson: Can I see? Keith Henderson: yeah. Stephen Johnson: Thanks. Keith Henderson: Sure. Stephen Johnson: Okay I like the volume control, that's good. Keith Henderson: Th this is a magic one but I know we don't want to talk about that, you know like uh i i i it is a very futuristic, it's like uh it's like a brain machine interface and all this Stephen Johnson: Uh-huh. Keith Henderson: stuff we are Elmo Cardona: Yeah. Keith Henderson: thinking about in the future, it can come. Stephen Johnson: So it doesn't actually have buttons. Keith Henderson: So that uh then what we look Stephen Johnson: Did you wanna see? Keith Henderson: t yeah. Sam Mcmahan: Mm-hmm. Yeah no you Keith Henderson: This Sam Mcmahan: can Keith Henderson: is a Sam Mcmahan: carry Keith Henderson: model, Sam Mcmahan: on, Keith Henderson: yeah. Sam Mcmahan: I just look how it feels all. Yes it really feels like like like a mobile phone. Stephen Johnson: Mm. Elmo Cardona: Yeah. Keith Henderson: Yep. Sam Mcmahan: Just I'm Elmo Cardona: Yeah actually, yeah. Sam Mcmahan: I really want to talk to it. But. Stephen Johnson: It won't talk back. Sam Mcmahan: So but but continue with your Keith Henderson: Uh so Sam Mcmahan: uh mm-hmm. Keith Henderson: well then the this is the a more a little uh smooth and it gives a lot of functionality, uh in this way, so all we have uh th you see there are only six keys, but don't worry they are ma they are doing the job of twelve keys actually Stephen Johnson: Right. Sam Mcmahan: Mm. Keith Henderson: here. And so they have more space actually Stephen Johnson: Mm-hmm. Keith Henderson: and uh it's easy to uh use this and uh you have um so this is a standard uh uh infrared eye, and then you have a power button, which l volume, what you have, Sam Mcmahan: Mm-hmm. Keith Henderson: and then other than that you have uh channel up and down and uh f slow pause or s slow Elmo Cardona: Play, Keith Henderson: lo Elmo Cardona: pause. Keith Henderson: yeah s pause or stop, and uh then uh you can uh you have a L_C_D_ display, Sam Mcmahan: Mm-hmm. Keith Henderson: here and uh y this is a functional thing which can change like it's a toggle switch which could change the function say, y you Sam Mcmahan: From Keith Henderson: press Sam Mcmahan: D_V_D_ Keith Henderson: it Sam Mcmahan: player to television Keith Henderson: Yeah. Sam Mcmahan: or Elmo Cardona: Exactly Sam Mcmahan: something. Keith Henderson: I Elmo Cardona: yeah. Keith Henderson: really can change Sam Mcmahan: Yes. Elmo Cardona: To Keith Henderson: it, Elmo Cardona: audio Keith Henderson: so Elmo Cardona: and to Sam Mcmahan: Mm. Keith Henderson: Instead Elmo Cardona: video Keith Henderson: of having Elmo Cardona: on Keith Henderson: many Elmo Cardona: demand. Keith Henderson: switches, Stephen Johnson: Mm-hmm. Sam Mcmahan: Yes Keith Henderson: y Sam Mcmahan: and and and then you get feedback via the L_C_D_ yeah. Keith Henderson: The L_C_D_ can display Elmo Cardona: Yes. Keith Henderson: what is Sam Mcmahan: Mm-hmm. Keith Henderson: that on that, and uh well you can have a integrated microphone over here, Elmo Cardona: This is the orange Keith Henderson: or Elmo Cardona: button, the Keith Henderson: in the button Elmo Cardona: microphone. Keith Henderson: th here, so Sam Mcmahan: Mm-hmm. Keith Henderson: which can uh basically you want to do a speech recognition and uh that channel a lot of information can be di displayed here directly on the um on Elmo Cardona: An Keith Henderson: your on Elmo Cardona: yeah. Keith Henderson: your display. And here is a small L_E_D_ which is like blinking one, Sam Mcmahan: Mm-hmm. Keith Henderson: which tells you like uh are you running out of the battery, and which is can be useful for the locating as I was talking earlier Elmo Cardona: Yeah. Keith Henderson: okay. Sam Mcmahan: Mm-hmm. Keith Henderson: And uh well then we have a cover basically, basically you don't need much of the time this, Elmo Cardona: Yeah. Keith Henderson: when you need you can use it, and this gives additional functionality that tomorrow you want you can add a tactile thing to Sam Mcmahan: Mm. Keith Henderson: this cover Elmo Cardona: Crazy Keith Henderson: you know. Elmo Cardona: dis designer, okay. Keith Henderson: Design enter. Sam Mcmahan: Yeah but but but but uh i in there uh when this is closed, Keith Henderson: Yeah. Sam Mcmahan: will it also uh cover up the L_C_D_ Elmo Cardona: Yeah Sam Mcmahan: screen? Elmo Cardona: yeah yeah yeah. Keith Henderson: Yeah. It's basically to Elmo Cardona: Yeah. Keith Henderson: do Sam Mcmahan: But Keith Henderson: that. Sam Mcmahan: but the L_C_D_ screen I mean is a very uh well an eye-attracting feature which shouldn't Keith Henderson: Actually Sam Mcmahan: be shouldn't Keith Henderson: when you Sam Mcmahan: be Keith Henderson: are watching the T_V_, Elmo Cardona: Oh actually well. Keith Henderson: when you are watching anything or listening to them, you hardly care about what is getting displayed here, you know, uh Sam Mcmahan: That th Keith Henderson: you Sam Mcmahan: that's Keith Henderson: want Sam Mcmahan: true. Keith Henderson: to uh and this gives a protection to the L_C_D_ actually, giving a cover to that actually. Sam Mcmahan: Mm. Keith Henderson: Gives a protection because when it falls down or something it it is Sam Mcmahan: Mm-hmm. Keith Henderson: it Sam Mcmahan: Mm-hmm. Keith Henderson: is Sam Mcmahan: Yes. Keith Henderson: is is it Sam Mcmahan: Yes, Keith Henderson: gives Sam Mcmahan: more Keith Henderson: a Sam Mcmahan: robust. Keith Henderson: protec it's more robust that way. Sam Mcmahan: Yes okay. Stephen Johnson: Mm. Keith Henderson: Uh yeah. And you have very good chances Elmo Cardona: It's low weight. You have to Keith Henderson: Yeah. Elmo Cardona: see yeah yeah the the components we put inside is very low weight. Sam Mcmahan: Mm-hmm. Keith Henderson: Yeah. Elmo Cardona: So the the cost is actually a bit more, it's uh Keith Henderson: It Elmo Cardona: it's it's sixteen Francs. Keith Henderson: Sixteen Euros. Elmo Cardona: Sixteen Euros sorry. Sam Mcmahan: Okay. Stephen Johnson: So it's well outside the budget then. Elmo Cardona: Then it's out of budget. But Sam Mcmahan: But Elmo Cardona: the Sam Mcmahan: w Elmo Cardona: the main point we we talk about that with our uh manufacturer. And Keith Henderson: Yeah. Elmo Cardona: they say basically that the S_R_ system would be uh something like three Francs per item Keith Henderson: Three Euros. Elmo Cardona: so three Euros sorry. And um Stephen Johnson: That's on top of the sixteen, or is it part of that? Elmo Cardona: No no no, part of that, yeah. Keith Henderson: Part of that. Stephen Johnson: So that takes it down to thirteen Euros without the Elmo Cardona: Yeah, Stephen Johnson: speech recognition. Elmo Cardona: yeah. Sam Mcmahan: Mm 'kay. Keith Henderson: Yeah. Sam Mcmahan: Hmm. Stephen Johnson: Mm-hmm. Keith Henderson: Well uh if you we can have if you have new more ideas we can add new more uh some more keys if you want to you know Sam Mcmahan: Mm-hmm. Elmo Cardona: Well I think th th yeah we should stick with uh a number of Stephen Johnson: Mm. Elmo Cardona: keys because if we add too much then Keith Henderson: Yeah it it should Sam Mcmahan: Mm-hmm. Elmo Cardona: it's Keith Henderson: not Elmo Cardona: too Keith Henderson: be cluttering up everything. Stephen Johnson: What's this one on the side? Keith Henderson: Ah that's for the it's kind of a L_E_D_ Elmo Cardona: Locati. Keith Henderson: for Elmo Cardona: Location. Keith Henderson: indicating your battery Stephen Johnson: Ah okay. Keith Henderson: and as well as it's like a blinking one you Stephen Johnson: Mm-hmm. Keith Henderson: know you can Elmo Cardona: Yeah. Keith Henderson: keep it aside. Stephen Johnson: Mm 'kay. I like the shape of them, I do like the Keith Henderson: Yeah. Stephen Johnson: the size Sam Mcmahan: Well well Stephen Johnson: and the the shape. Sam Mcmahan: Mm. Be before ta talking about the money and what's possible Stephen Johnson: Mm-hmm. Sam Mcmahan: and what is not possible, maybe Anna you can uh give our uh give us your Stephen Johnson: Okay. Sam Mcmahan: um Stephen Johnson: And maybe we run the evaluation on both of the products, both of these two. Sam Mcmahan: Yes. Evalua evaluation and also the evaluation criteria, so what Stephen Johnson: Okay. Sam Mcmahan: what is important to look at. Stephen Johnson: Basically this is what we've talked about already, um, Sam Mcmahan: Mm-hmm. Stephen Johnson: from the marketing point of view. We just wanna make sure that we've taken into account Sam Mcmahan: Well just Stephen Johnson: Yep. Sam Mcmahan: do it quickly if if we al already. Stephen Johnson: So it's just a shortlist of criteria on Sam Mcmahan: Mm-hmm. Stephen Johnson: um the things that we've identified as being important to selling the product. Um we just go through these and rate them as a group and then at the end we'll make an evaluation based on that, so just average the score of those items, so These are the things we identified as being important. Um the three things were look and feel, innovation and ease of use, Sam Mcmahan: Mm-hmm. Stephen Johnson: were the three important components um appealing to the correct demographic so using those things in the right way to appeal to our demographic. And then goin following the company motto, following the fashion trends and putting that into the product as well. So well do you wanna go through and put through those on the the two products now or do we wanna discuss them further and then evaluate them? Sam Mcmahan: Um, n no why not why not discuss uh discuss it now, Stephen Johnson: Okay. So f just go through onto the whiteboard I guess. Not sure how this is gonna come out. Stephen Johnson: So the first one was really very far below budget, would you want to take the price down of the end product according to that or just have the high profit on it? 'Cause if we're only going to make it for eight Euros then we have a Sam Mcmahan: Mm, well my my personal view is uh w when when this one is eight Euros we must think how can we improve it. Stephen Johnson: Mm-hmm. Sam Mcmahan: And then I mean w w w you must just see it we can still spend this four Stephen Johnson: Mm-hmm. Sam Mcmahan: and a half Euro and Stephen Johnson: Yep. Sam Mcmahan: to r because th th th the the selling price is already prite fik uh uh quite fixed on twenty five Euros Elmo Cardona: Mm-hmm. Stephen Johnson: Mm-hmm. Sam Mcmahan: so we just have to offer as much as as Elmo Cardona: Functionality. Sam Mcmahan: well value for the for the customer uh he can have for twenty five Euro. Stephen Johnson: Okay so look and feel, innovation Keith Henderson: And now it easy to use. Elmo Cardona: Easy to use. Sam Mcmahan: Mm. Elmo Cardona: target. Stephen Johnson: Mm-hmm. Stephen Johnson: And trends. Oh, you following the idea of using the um removable covers on these? Is that Sam Mcmahan: Um Stephen Johnson: part of both of them Sam Mcmahan: well Stephen Johnson: or? Sam Mcmahan: w w we can still discuss that. Stephen Johnson: Okay. Sam Mcmahan: So um, and together with evaluating this uh we we might come with new ideas I mean Stephen Johnson: Mm-hmm. Sam Mcmahan: adding things or uh removing uh of options because they are too expensive, Stephen Johnson: Mm-hmm. Sam Mcmahan: but um I've received uh a framework which we can do this. I mean did Stephen Johnson: Mm-hmm. Sam Mcmahan: you have this this Excel sheet? Elmo Cardona: No. Keith Henderson: No. Sam Mcmahan: No okay, Stephen Johnson: No. Sam Mcmahan: this is these are the the the latest prices of our production uh uh production unit for several components, so we can uh see whether the the price is is within the twelve Euro Stephen Johnson: Mm-hmm. Sam Mcmahan: uh fifty cents Stephen Johnson: Okay. Sam Mcmahan: uh. So maybe we can start with this, uh, calling this one. Stephen Johnson: Okay. Yep. So it's the pink. Sam Mcmahan: Th th this is the first design. Stephen Johnson: And the other one's green. Sam Mcmahan: Yes. Stephen Johnson: Okay, so look and feel? Where um one is I've broken the pen again. Sam Mcmahan: Uh there is another Stephen Johnson: S Sam Mcmahan: pen. Stephen Johnson: yeah. Get that one. Um w one's bad and seven's the best. Sorry, one's true and seven's false. One's the best. Sam Mcmahan: Okay. Stephen Johnson: So on a scale of Sam Mcmahan: 'Kay. Stephen Johnson: one to seven? Sam Mcmahan: Okay. So. Look and feel. Well you already feel that uh pretty much I think. Sam Mcmahan: In i in my opinion Stephen Johnson: Mm-hmm. Sam Mcmahan: purely feel is Stephen Johnson: Mm-hmm, Sam Mcmahan: is is very good, Stephen Johnson: yeah. Sam Mcmahan: is very good in your hand, so Stephen Johnson: Mm-hmm. Sam Mcmahan: I I I would consider two or or may maybe even one Stephen Johnson: Mm-hmm. Sam Mcmahan: for feel. But that's just half, we should also consider look, Stephen Johnson: Mm-hmm. Sam Mcmahan: and then i it looks quite conventional. Stephen Johnson: Mm. Sam Mcmahan: Don't you agree? Keith Henderson: Mm yeah. Stephen Johnson: On the scale u it's between Sam Mcmahan: So maybe Stephen Johnson: functional Sam Mcmahan: two. Stephen Johnson: and Sam Mcmahan: Hmm. Stephen Johnson: fancy Sam Mcmahan: Hmm. Stephen Johnson: basically Sam Mcmahan: Ma ma ma Stephen Johnson: we're looking Sam Mcmahan: ma Stephen Johnson: at, Sam Mcmahan: maybe Stephen Johnson: so Sam Mcmahan: say say five I It's my opinion, but I don't know what Keith Henderson: Well Sam Mcmahan: what Keith Henderson: I will give it maybe we have anyways the way we have designed it's like the surf Stephen Johnson: Mm-hmm. Keith Henderson: as you say Elmo Cardona: Yeah. Keith Henderson: you know. It though the look is fine but uh still I will give four in that case Elmo Cardona: Yeah. Keith Henderson: you know. Elmo Cardona: Four maybe. Stephen Johnson: Four? Keith Henderson: Four Sam Mcmahan: Four, Stephen Johnson: Okay. Keith Henderson: yeah Sam Mcmahan: four. Now Keith Henderson: that Sam Mcmahan: we th th then we settle Stephen Johnson: Mm-hmm. Sam Mcmahan: on four. Keith Henderson: Yeah. I will gi yeah. Elmo Cardona: Uh. Sam Mcmahan: 'Kay. Can you maybe fix the other Elmo Cardona: Yeah. Stephen Johnson: Mm. Elmo Cardona: If you press like this not like this then you Stephen Johnson: No that's the Keith Henderson: No. C Stephen Johnson: ink's Keith Henderson: can you Stephen Johnson: dried. Keith Henderson: get the batteries? No no the battery has fallen down, Stephen Johnson: Battery's Keith Henderson: that's i Stephen Johnson: low, isn't it the ink? The b that's the that that one? Keith Henderson: Yeah. Stephen Johnson: battery there. Elmo Cardona: But Keith Henderson: No no it's not that, it's how to close a battery. Elmo Cardona: Okay. Keith Henderson: Okay? Now it should be. Stephen Johnson: Mm. No I think it's lost a battery. Sam Mcmahan: Mm, try it, just try it. Stephen Johnson: No it's Sam Mcmahan: Oh it will Stephen Johnson: It Sam Mcmahan: not Stephen Johnson: would Sam Mcmahan: ri Stephen Johnson: still write but it wouldn't Sam Mcmahan: mm, Stephen Johnson: pick it up with the sensors. Sam Mcmahan: mm. Keith Henderson: Is there another battery there? Oh yeah. Stephen Johnson: You got a second? Elmo Cardona: Try a Stephen Johnson: Well we won't be able to tell. Sam Mcmahan: Yes, it it has a mm. Elmo Cardona: Perfect. Stephen Johnson: Is that working? Did it come out? Good. Okay. Sam Mcmahan: Good. Good. Stephen Johnson: Because we'll be able to see it still even if it wasn't working, it's just a normal whiteboard Elmo Cardona: Yeah, Stephen Johnson: marker Elmo Cardona: yeah. Stephen Johnson: but it wouldn't be picked up on the the actual whiteboard. Elmo Cardona: Yep. Sam Mcmahan: Okay. So then then Stephen Johnson: And the other one? Elmo Cardona: Wow. Sam Mcmahan: Ah. Stephen Johnson: I think it's slightly better, Sam Mcmahan: Mm. Stephen Johnson: um, it's hard to tell from just Sam Mcmahan: I Stephen Johnson: the Sam Mcmahan: I Stephen Johnson: plasticine, but Sam Mcmahan: I When we want to include I I I'm doubting about this this component. It Stephen Johnson: Mm. Sam Mcmahan: it it it breaks in your Elmo Cardona: 'Kay maybe Keith Henderson: No Stephen Johnson: Mm. Keith Henderson: actually this is this is not going to protrude actually, Stephen Johnson: Okay. Keith Henderson: it Elmo Cardona: It's Keith Henderson: is Elmo Cardona: not Keith Henderson: jus Elmo Cardona: a button it's a led, it's Keith Henderson: It's a led Elmo Cardona: a Keith Henderson: actually which which 'll be covering in a curve Elmo Cardona: Ac actually yeah Sam Mcmahan: Mm, Elmo Cardona: it should be embedded. Keith Henderson: It's will Sam Mcmahan: yes Stephen Johnson: Mm-hmm. Keith Henderson: be embedded Sam Mcmahan: I see, Elmo Cardona: Yeah. Keith Henderson: there Stephen Johnson: Yeah. Keith Henderson: so Sam Mcmahan: mm Keith Henderson: it Sam Mcmahan: okay. Keith Henderson: won't be really you know Elmo Cardona: Oh you can Keith Henderson: protruding Elmo Cardona: push Keith Henderson: or Elmo Cardona: push Keith Henderson: something. Elmo Cardona: it again, you can push it. Stephen Johnson: Yeah. The Keith Henderson: Yeah. Stephen Johnson: other thing is, is the left hand one protruding? 'Cause if Keith Henderson: Yeah. Stephen Johnson: people are left handed they want to use the other hand, maybe Keith Henderson: Yeah. Stephen Johnson: it won't work so well. Keith Henderson: No you it it not protruding actually, it will go in better Stephen Johnson: Okay. Keith Henderson: into that Sam Mcmahan: Well r r Stephen Johnson: I'd say two or three for that one, personally. Sam Mcmahan: Mm. Stephen Johnson: Probably more towards three than two. Sam Mcmahan: I think the look is better but the feel is is is worse. So so I would also say this is four. Stephen Johnson: Okay. Sam Mcmahan: But w w do you what do you think? Keith Henderson: Uh it's fine I think. My just that um the feel is that um you right now you you don't see the feel because right uh for example if you press it quite inside now like this, now it's embedded Elmo Cardona: Yeah. Keith Henderson: one. Sam Mcmahan: Mm. Mm. Yes. Keith Henderson: This is how embedded one Sam Mcmahan: Yes, Keith Henderson: will Sam Mcmahan: it basically is the same shape. Keith Henderson: Yeah. It's a bas basically the same thing actually. Sam Mcmahan: Mm-hmm. Keith Henderson: You Sam Mcmahan: Mm. Keith Henderson: will be Except that Elmo Cardona: And Keith Henderson: in this Elmo Cardona: the Keith Henderson: c Elmo Cardona: L_C_D_ makes it better. Keith Henderson: Yeah. Elmo Cardona: Yeah. Keith Henderson: And Sam Mcmahan: Yeah. Keith Henderson: you Sam Mcmahan: Yeah. Keith Henderson: might Stephen Johnson: Mm, Sam Mcmahan: Yeah. Keith Henderson: have a slight Stephen Johnson: okay. Keith Henderson: thing for to forward Elmo Cardona: So I will Stephen Johnson: Yeah Keith Henderson: and Elmo Cardona: say Stephen Johnson: it's d it's Elmo Cardona: two. Stephen Johnson: definitely more fancier than that one. Keith Henderson: Yeah, Sam Mcmahan: Yes, Keith Henderson: yeah. Sam Mcmahan: okay. Elmo Cardona: I would say two, Stephen Johnson: Okay. Elmo Cardona: three. Keith Henderson: Yeah. Stephen Johnson: So, consensus? Two or three? Sam Mcmahan: Two? Mm. Stephen Johnson: Two? Elmo Cardona: Yep. Sam Mcmahan: Two's good yes. Keith Henderson: looking Stephen Johnson: Um, Keith Henderson: like Stephen Johnson: 'kay. Innovation. The first one, not Elmo Cardona: Basically Stephen Johnson: really muc Elmo Cardona: there is no innovation in the first one Stephen Johnson: Mm. Elmo Cardona: compared to what exists in the market, Stephen Johnson: Yeah. Elmo Cardona: right? Keith Henderson: No but Stephen Johnson: Do we Keith Henderson: except for the design of the surf. Elmo Cardona: Yeah. The Stephen Johnson: Mm. Elmo Cardona: surf uh design. Sam Mcmahan: Mm. Stephen Johnson: What Keith Henderson: You should be Stephen Johnson: What Keith Henderson: rea Stephen Johnson: features are we actually including? Are we including like a location kind of thing like trying to find it? Keith Henderson: Uh no I think it's Stephen Johnson: There's Keith Henderson: more Stephen Johnson: nothing Keith Henderson: of the Stephen Johnson: like Keith Henderson: feel. Stephen Johnson: that? But th all, it's just Keith Henderson: Yeah, Stephen Johnson: a straight-out Keith Henderson: yeah. Stephen Johnson: remote control. Keith Henderson: Yeah. Sam Mcmahan: Mm-hmm. Elmo Cardona: Yeah. Sam Mcmahan: Mm-hmm. Stephen Johnson: Okay. Sam Mcmahan: The only innova innovation is the shape. Elmo Cardona: Yeah. Keith Henderson: Say about that. Stephen Johnson: Okay. Sam Mcmahan: S so that Stephen Johnson: So there's no this uh look and feel thing, though that's not a technological Elmo Cardona: Yeah. Stephen Johnson: innovation. Keith Henderson: Yeah. Elmo Cardona: You're right. Stephen Johnson: So I'd be up for seven for Elmo Cardona: Yeah. Stephen Johnson: innovation. Elmo Cardona: And the And the second one is really uh state of the art, Keith Henderson: Yep. Elmo Cardona: uh in terms of innovation. Sam Mcmahan: Mm. Elmo Cardona: And um with many more functionalities, and can open and close the Keith Henderson: Yeah, it Elmo Cardona: the bottom Keith Henderson: gives Elmo Cardona: part. Keith Henderson: it Sam Mcmahan: Yes. A and the L_C_D_ screen is Elmo Cardona: Yeah. Sam Mcmahan: That's that's that's well it's quite Elmo Cardona: And all Sam Mcmahan: innovative. Elmo Cardona: the scrolling uh buttons and menu and pro programmable device behind this. Sam Mcmahan: Mm. Elmo Cardona: Uh could put it at one or two I would say. Stephen Johnson: Okay. Sam Mcmahan: Yeah. Elmo Cardona: Personally. Sam Mcmahan: Mm. Keith Henderson: Yep. Sam Mcmahan: Mm. Mm. Mm. Stephen Johnson: So what is it, what are the innovations with this? Got the L_C_D_ Elmo Cardona: Uh Stephen Johnson: screen. Elmo Cardona: Yeah automatic speech recognition. Stephen Johnson: Is that in this one though? Is this 'cause this is the Keith Henderson: No, Stephen Johnson: Th th there Keith Henderson: we Stephen Johnson: were Keith Henderson: ha Stephen Johnson: different options we discussed then, we discussed the one that was in budget and the one that was out of budget. Sam Mcmahan: We just diske discuss it as you designed it and then we Stephen Johnson: Okay. Sam Mcmahan: will will Elmo Cardona: Yeah. Sam Mcmahan: try Stephen Johnson: So Sam Mcmahan: to Stephen Johnson: the cost Elmo Cardona: So Stephen Johnson: for these Sam Mcmahan: get Stephen Johnson: were Sam Mcmahan: it in the budget. Stephen Johnson: what was the cost for the first one? Eight Euros? Sam Mcmahan: Eight. Elmo Cardona: Eight. Well actually we have yeah to check again yeah. Keith Henderson: Yeah, eight Euros yeah. Stephen Johnson: And this one was Sam Mcmahan: Yes. Elmo Cardona: Sixteen. Stephen Johnson: sixteen Keith Henderson: Sixteen Stephen Johnson: Euros. Keith Henderson: Euros. Stephen Johnson: Okay. So. Innovation for this one is two? One? Keith Henderson: It's a two, I would say two. Stephen Johnson: Two? Elmo Cardona: W Sam Mcmahan: Two. Elmo Cardona: W un to be one what would do we nee actually, yeah, I don't see Sam Mcmahan: Why Elmo Cardona: okay, Sam Mcmahan: it is Elmo Cardona: one Sam Mcmahan: one. Elmo Cardona: would would be without buttons, Sam Mcmahan: A man w w Stephen Johnson: Mm. Keith Henderson: Yeah. Stephen Johnson: Well Sam Mcmahan: Yes. Stephen Johnson: the Elmo Cardona: Bu Stephen Johnson: speech recognition is a very good innovation I believe Elmo Cardona: Yeah. Stephen Johnson: it, so Elmo Cardona: So maybe we can put Sam Mcmahan: This Elmo Cardona: one. Sam Mcmahan: this is it w with the speech recognition? Elmo Cardona: It's using speech recognition, Keith Henderson: Okay yeah. Elmo Cardona: yeah. Sam Mcmahan: Well. Gi given that Stephen Johnson: Give Sam Mcmahan: that Stephen Johnson: it Elmo Cardona: Yeah, Sam Mcmahan: it Stephen Johnson: a one? Sam Mcmahan: works, Elmo Cardona: one, yeah. Stephen Johnson: Yep. Sam Mcmahan: then it's I think one. Stephen Johnson: Okay. Ease of use? Keith Henderson: Uh Elmo Cardona: So the first one is really standard, so Stephen Johnson: Mm. Elmo Cardona: everybody i including Keith Henderson: He is used Elmo Cardona: our Keith Henderson: to Elmo Cardona: grandmothers Keith Henderson: it act Stephen Johnson: Yeah. Sam Mcmahan: Mm. Elmo Cardona: can use it, right? Keith Henderson: They are used to it Stephen Johnson: Yep. Keith Henderson: actually. Stephen Johnson: So that's maybe a a two for ease of use. Elmo Cardona: Yeah. Keith Henderson: Here there may Elmo Cardona: Um, the other one is quite easy, tho though. Keith Henderson: Uh, though it has more functionality I think it shouldn't be for the user Stephen Johnson: Okay. Keith Henderson: to learn it actually. Sam Mcmahan: Hmm. Keith Henderson: It shouldn't Stephen Johnson: So maybe Keith Henderson: be diffi Stephen Johnson: a three or a four. Keith Henderson: Uh yeah, actually in fact I think it will be Elmo Cardona: One Keith Henderson: Yeah Elmo Cardona: Stephen Johnson um we hope maybe sometimes people get uh scared with the number of buttons. Stephen Johnson: Mm. Keith Henderson: Yeah but Elmo Cardona: And Keith Henderson: y Elmo Cardona: there is a like I would say three. Or maybe four. Stephen Johnson: Okay. Keith Henderson: Well Stephen Johnson: Consensus? Keith Henderson: we have reduced the keys Stephen Johnson: Three or Keith Henderson: actually Stephen Johnson: four? Keith Henderson: you see. Sam Mcmahan: Three, I would. Keith Henderson: Three Elmo Cardona: Yeah, Keith Henderson: is fine Stephen Johnson: Three? Sam Mcmahan: Three. Elmo Cardona: yeah Keith Henderson: with Stephen Johnson: Okay. Keith Henderson: Stephen Johnson. Elmo Cardona: because it's n uh it's not like a big one with uh one hundred buttons or Keith Henderson: Yeah it's Elmo Cardona: so, Keith Henderson: a actually Sam Mcmahan: No. Keith Henderson: the user has to put some effort to do use that actually, Stephen Johnson: Mm-hmm. Keith Henderson: it's not so easy, Sam Mcmahan: Yeah. Keith Henderson: like this one the normal. Sam Mcmahan: Yes but then when when he is used to it, i i it is quite easy. Keith Henderson: Is quite easy yeah. Sam Mcmahan: So Keith Henderson: Initially Sam Mcmahan: so I think Keith Henderson: there Sam Mcmahan: th Keith Henderson: there Sam Mcmahan: three Keith Henderson: is Sam Mcmahan: is Keith Henderson: a lot of Sam Mcmahan: good. Keith Henderson: effort, Sam Mcmahan: Yeah. Stephen Johnson: Okay. Keith Henderson: yeah. Sam Mcmahan: Good. What's the Stephen Johnson: So Sam Mcmahan: next? Stephen Johnson: three's uh how well it goes to the target demographic. Keith Henderson: Mm. Stephen Johnson: So Sam Mcmahan: So Stephen Johnson: we're d we're still thinking twenty to forty year olds? Sam Mcmahan: Twe twenty to forty, Stephen Johnson: That's Sam Mcmahan: yes that's Elmo Cardona: This one would be uh for grandmothers. Stephen Johnson: Mm. Keith Henderson: Oh no, this would I I would I Elmo Cardona: No. Keith Henderson: would give this model to the old people actually. Elmo Cardona: Yeah, grandmothers, yeah. Keith Henderson: Yeah. Sam Mcmahan: Mm-hmm. Stephen Johnson: So sh Keith Henderson: And Stephen Johnson: completely changed our demographic there, it's not part of the the funky young thing. Sam Mcmahan: Well exce except Elmo Cardona: Yeah that's Sam Mcmahan: for Elmo Cardona: true. Sam Mcmahan: the surfing shape. I mean that's Elmo Cardona: Yeah. Sam Mcmahan: that's something Stephen Johnson: Yeah. Sam Mcmahan: which which has an appeal on this group I think, but Stephen Johnson: If it was the Elmo Cardona: Yeah. Stephen Johnson: very bottom price range or it was like between this and another one we did the same thing then I can imagine it being applying to the the demographic yeah. That's Sam Mcmahan: Mm w Stephen Johnson: it's Sam Mcmahan: w w Stephen Johnson: still Sam Mcmahan: we after Stephen Johnson: Ye Sam Mcmahan: this we can can consider uh for instance, making this more attractive to Stephen Johnson: Mm. Sam Mcmahan: to the demographic Stephen Johnson: 'Cause we have got room, we've got some budget there to Sam Mcmahan: Mm. Stephen Johnson: add a few things to it, that's right. Sam Mcmahan: But as it is now, I w would say mm, six, something. Elmo Cardona: Yeah. Stephen Johnson: Mm-hmm. Keith Henderson: Oh yeah, Sam Mcmahan: Do you Stephen Johnson: And Sam Mcmahan: agree? Keith Henderson: I Well I Elmo Cardona: Yeah Keith Henderson: think Elmo Cardona: it was written that it really so important, the um the the look and uh taking care of its it targets, the right range of people, right? Keith Henderson: Yeah. Stephen Johnson: Mm. Keith Henderson: Uh yeah but but if you sell it in the market it's going to be cheap, actually. Elmo Cardona: Yeah. But Stephen Johnson: But it's Elmo Cardona: w Keith Henderson: So Stephen Johnson: going to be cheap whatever though, it was set with i we've Keith Henderson: And Stephen Johnson: got Keith Henderson: people Stephen Johnson: a set price. Keith Henderson: can still decide to use the cheaper one Elmo Cardona: Yeah. Keith Henderson: instead of a Elmo Cardona: But for us it's yeah we have a constraint that we need to sell at twenty five Sam Mcmahan: Mm, Elmo Cardona: Euros. Stephen Johnson: Yeah. Sam Mcmahan: yeah, Stephen Johnson: There's Sam Mcmahan: indeed. Stephen Johnson: nothing that Sam Mcmahan: Th Stephen Johnson: would Sam Mcmahan: t Stephen Johnson: make Stephen Johnson Sam Mcmahan: t Stephen Johnson: spend an extra k few Euros on that Elmo Cardona: Yeah. Stephen Johnson: one rather Sam Mcmahan: Ju Stephen Johnson: than another Sam Mcmahan: just Stephen Johnson: one. Sam Mcmahan: think, twenty five Euros, I mean Keith Henderson: Okay. Sam Mcmahan: it's not going to be cheaper. Keith Henderson: Okay. So Elmo Cardona: Yeah. Keith Henderson: in that case well it's fine then. We can Sam Mcmahan: Mm. Stephen Johnson: Okay. Keith Henderson: yeah. Sam Mcmahan: Mm. Okay. Stephen Johnson: Um and the demokraphi demographic of the second one? Keith Henderson: And the demographics Stephen Johnson: It's got Keith Henderson: of Stephen Johnson: the got the the toys in it, it's got the L_C_D_ Sam Mcmahan: Yeah tha tha Stephen Johnson: screen Sam Mcmahan: tha tha tha Stephen Johnson: and Sam Mcmahan: that's I think it's better, because of Stephen Johnson: Mm. Sam Mcmahan: the L_C_D_ screen which is really an appeal on the on the on the Stephen Johnson: Yeah. Sam Mcmahan: on the and on the Elmo Cardona: Yeah. And if you want to target yeah if we we wish to to sell four millions of this, I think for this audience we need absolutely the L_C_D_ screen. Stephen Johnson: Mm-hmm. Sam Mcmahan: Mm. So, the L_C_D_ screen uh attracts, Stephen Johnson: Yeah. Sam Mcmahan: yes. Because Stephen Johnson: I think especially Sam Mcmahan: it Stephen Johnson: if we're gonna n have an L_C_D_ screen on a low range product then that's good. Elmo Cardona: Yeah. Sam Mcmahan: Mm, ma maybe that's something Stephen Johnson: Mm. Sam Mcmahan: to consider, yes, Stephen Johnson: Okay. Sam Mcmahan: so. Wh what what Stephen Johnson: I'd probably go with three again for that one. Keith Henderson: Yeah I think it's uh Elmo Cardona: Or Keith Henderson: it Elmo Cardona: even Keith Henderson: has more market actually. Elmo Cardona: Even one and two. Stephen Johnson: Mm-hmm. Keith Henderson: Y yeah, Sam Mcmahan: No s Keith Henderson: you know Elmo Cardona: Or two. Sam Mcmahan: say Stephen Johnson: Okay. Sam Mcmahan: t Keith Henderson: two. Sam Mcmahan: two. Stephen Johnson: So, two, Sam Mcmahan: Two? Stephen Johnson: yeah? Elmo Cardona: Yeah. Two yeah. Keith Henderson: Yeah two yeah. Because tomorrow this will be more appealing because you can add lot of sophistication on that. Stephen Johnson: Mm-hmm. Keith Henderson: Because then you you have it uh d you Stephen Johnson: Yeah. Keith Henderson: have lot of things which you can include Stephen Johnson: Yep. Keith Henderson: for the people to Stephen Johnson: And especially I guess 'cause this has the speech recognition as well, and that makes it more appealing, it's more of a a new fun toy. Keith Henderson: We have to practically test it. The field Stephen Johnson: Mm-hmm. Keith Henderson: test will tell you Elmo Cardona: Yeah. Keith Henderson: how Stephen Johnson: Okay. Keith Henderson: good. Sam Mcmahan: Okay, the final point, Stephen Johnson: And Keith Henderson: The trends. Sam Mcmahan: trends. Stephen Johnson: following the trends. So the trends were the fruit and vegetables and the spongy feel. Sam Mcmahan: Mm. Mm. Stephen Johnson: So as it is, not really doing either of them. Sam Mcmahan: I think Elmo Cardona: Spongy, uh, that means that it goes in in the water. Keith Henderson: Mm-hmm. Stephen Johnson: Well, the spongy could be part of the the feel of the buttons as well, I know some have you tried the mobile phones that have got the kinda spongy buttons and not not exactly spongy but Elmo Cardona: Uh Stephen Johnson: I'm thinking Elmo Cardona: okay. Stephen Johnson: one of the Nokias that's got like you ca it hasn't got individual buttons it's got Sam Mcmahan: Mm. Stephen Johnson: just a Keith Henderson: Yeah Stephen Johnson: one Keith Henderson: I Stephen Johnson: bit Keith Henderson: know. Stephen Johnson: on it and so you can that feels kinda spongy. Elmo Cardona: But this one includes this feature, right? Spongy buttons. Keith Henderson: Yeah. We Stephen Johnson: So Keith Henderson: we Stephen Johnson: it's sort Keith Henderson: we Stephen Johnson: of, Keith Henderson: we Stephen Johnson: yeah. Keith Henderson: we yeah, it's the way they are going Stephen Johnson: Mm. Keith Henderson: to be, Elmo Cardona: So Keith Henderson: actually. Stephen Johnson: Okay. Sam Mcmahan: Mm. Elmo Cardona: Uh the maybe in the colour we can make it uh fruit and and veggie. Stephen Johnson: But that's if you're using the covers. Sam Mcmahan: And the then Elmo Cardona: Yeah. Sam Mcmahan: we can Stephen Johnson: Or Sam Mcmahan: al Stephen Johnson: is it just Sam Mcmahan: yes. Stephen Johnson: one Sam Mcmahan: We can we can consider uh uh is it possible do you think, to to make a cover for s such a phone? I mean Stephen Johnson: Well they make it for mobiles, it can't be that much Keith Henderson: But why Stephen Johnson: more Keith Henderson: do Stephen Johnson: complicated. Keith Henderson: you want to cover that actually? In that uh w in Sam Mcmahan: Well Keith Henderson: the mod Sam Mcmahan: just with the with the flexible plastic uh Stephen Johnson: So you got the option of having different colours or different Elmo Cardona: Yeah. Stephen Johnson: textures. Elmo Cardona: This is possible. Sam Mcmahan: I Keith Henderson: Uh Sam Mcmahan: th I th I think Keith Henderson: uh y are you sure? Yeah I think yeah it should be possible like what we do with the mobile Sam Mcmahan: O o Keith Henderson: phone, Sam Mcmahan: or Keith Henderson: yeah. Sam Mcmahan: just two things which can be put on each other. Stephen Johnson: Mm. Elmo Cardona: Yeah exactly like Nokia phones. Stephen Johnson: Mm. Sam Mcmahan: Yes, Keith Henderson: Yep. Sam Mcmahan: exactly like it. Uh, so Maybe we can but we have to decide it, we can put the the the fancy f look of vegetables for instance, Stephen Johnson: Mm-hmm. Sam Mcmahan: to to these covers and s now try to invest in the in in the features. Stephen Johnson: I think the if we do the cover that's really going with the company's philosophy of having the fashion in in electronics, it Sam Mcmahan: Mm. Stephen Johnson: lets people have the latest fashion even next year when fruit and vegetables might be out, you'll still be able to put a new cover on Sam Mcmahan: Mm Stephen Johnson: it and then Sam Mcmahan: mm Stephen Johnson: it'll Sam Mcmahan: mm Stephen Johnson: still Sam Mcmahan: mm Elmo Cardona: Yeah. Sam Mcmahan: mm. Stephen Johnson: be in fashion. Elmo Cardona: 'Cause sometimes look at this computer, th this laptop, it's all black, Stephen Johnson: Mm. Elmo Cardona: and uh it's quite conventional, and sometimes people don't like too much flashy colours like Stephen Johnson: Mm. Elmo Cardona: this one presented here. Stephen Johnson: Mm. Elmo Cardona: So maybe we could do like in the range the set of Stephen Johnson: Mm. Elmo Cardona: what we propose a black one, Stephen Johnson: Yep. Sam Mcmahan: Mm-hmm. Elmo Cardona: very Sam Mcmahan: Mm-hmm. Elmo Cardona: standard one, Stephen Johnson: Yep. Elmo Cardona: that meets the the requirements of th such people that want really standard Stephen Johnson: Mm. Elmo Cardona: uh things. Sam Mcmahan: Mm. Mm. Stephen Johnson: And then you have the option of having the different colours, Sam Mcmahan: Yes. Stephen Johnson: different Sam Mcmahan: So Stephen Johnson: covers. Elmo Cardona: Yeah. Sam Mcmahan: so so that that would make the trends equal, so we we we really have Stephen Johnson: Mm. Sam Mcmahan: don't Stephen Johnson: There's Sam Mcmahan: have, Stephen Johnson: n yeah. 'Cause Sam Mcmahan: I Stephen Johnson: that's Sam Mcmahan: mean Stephen Johnson: the that's the feature that could be included in either of them. Sam Mcmahan: Mm. Stephen Johnson: Although it is more with the spongy buttons on the um Elmo Cardona: Yeah, Sam Mcmahan: Yes, Stephen Johnson: on Elmo Cardona: so Stephen Johnson: the other Sam Mcmahan: indeed. Elmo Cardona: a Stephen Johnson: one. Elmo Cardona: a point better for the Stephen Johnson: Okay. So. Elmo Cardona: for the number two. Stephen Johnson: Two and three, or one and two? Sam Mcmahan: Yes. Keith Henderson: Yeah, it's Sam Mcmahan: Say, say one and two. One Keith Henderson: one. Stephen Johnson: Mm-hmm. Sam Mcmahan: and two. Elmo Cardona: Okay. Sam Mcmahan: So le le let's see. So d this Stephen Johnson: Okay. Sam Mcmahan: one has spongy but buttons? Keith Henderson: Yeah, it Elmo Cardona: Yeah, Keith Henderson: says Elmo Cardona: the blue Keith Henderson: a Elmo Cardona: one uh spongy. Sam Mcmahan: Mm, I see, yes okay. Stephen Johnson: Okay so the average Sam Mcmahan: Good. Stephen Johnson: of that is three six nine divided by five, so Sam Mcmahan: Just add Stephen Johnson: five Sam Mcmahan: it. Elmo Cardona: Nine. Sam Mcmahan: You know. Keith Henderson: One Stephen Johnson: mm Keith Henderson: point Sam Mcmahan: Three, Keith Henderson: six, Sam Mcmahan: six, Keith Henderson: one Stephen Johnson: nine Keith Henderson: point Stephen Johnson: by five, Sam Mcmahan: seven. Stephen Johnson: one point s eight? Keith Henderson: One point eight yeah. Stephen Johnson: This one, eleven thirteen nineteen twenty one, Keith Henderson: Four point Stephen Johnson: divided by five is four point two yep. Keith Henderson: Uh four point two. Elmo Cardona: Very good. Stephen Johnson: Okay. But we still got a very different price for those two so they're Sam Mcmahan: Mm-hmm. Stephen Johnson: not really comparable yet anyway. Sam Mcmahan: We we must Elmo Cardona: Yeah, it's right, Sam Mcmahan: try to Elmo Cardona: yeah Sam Mcmahan: get them Elmo Cardona: that's Sam Mcmahan: closer. Elmo Cardona: right. Stephen Johnson: Yep. Sam Mcmahan: Both Keith Henderson: Wow. Sam Mcmahan: in i i or we just have to choose. And adapt. Because, Stephen Johnson: Yep. Sam Mcmahan: when we choose for this one we have to we have to make it more attractive Stephen Johnson: Mm-hmm. Sam Mcmahan: and w when we to d for this one we have to make it more cheap. Stephen Johnson: Well it's easier to just make that one cheaper by just taking the speech recognition out. That'll basically take us down Sam Mcmahan: Yes, Stephen Johnson: to Sam Mcmahan: well Stephen Johnson: the budget. Sam Mcmahan: But I'm now did y did you work with the same prices that I have here? Elmo Cardona: So I I give yeah I just give a call with the manufacturer uh and uh I explained them and they told Stephen Johnson Sam Mcmahan: Mm. Elmo Cardona: this could be possible for sixteen Fr Euros. Uh unfortunately we didn't see this chip, Keith Henderson: Yeah. Elmo Cardona: uh Keith Henderson: Yep. Elmo Cardona: Matthew, Sam Mcmahan: Mm, Elmo Cardona: so maybe Sam Mcmahan: tha Elmo Cardona: we have to recap with this one. Keith Henderson: Maybe we ought to reconsider everything with this, yeah. Sam Mcmahan: Well yes, well uh re reconsider it. So let's let's try to to model this this Keith Henderson: Mm-hmm. Sam Mcmahan: phone in this sheet, uh what kind of energy source uh I I we didn't speak about that. It's a it's a normal battery, or Keith Henderson: Yeah, it migh It it'll need uh more than a conventional one, it won't be uh just maybe you might use a A_A_ battery actually. What do you say, Mael? Elmo Cardona: For this one it's a normal battery. Sam Mcmahan: Yes. Just so one battery. 'Kay. Electronics. given speech recognition I think w you should go for the less fancy chip. Keith Henderson: Yeah. Elmo Cardona: Uh sample speaker, Sam Mcmahan: Yeah, Elmo Cardona: yeah. Sam Mcmahan: yes, or sample sensor, yes. Elmo Cardona: Sample, yeah, this one. Sam Mcmahan: Yes, this one. Okay. Case? Um, Elmo Cardona: So Keith Henderson: Curved. Double curved yeah right. It's uh Sam Mcmahan: I see I Double Stephen Johnson: Mm. Sam Mcmahan: curve. Stephen Johnson: Yeah, it's gonna be more than just the biggest case, definitely. Elmo Cardona: So Sam Mcmahan: Mm. Elmo Cardona: which one are we talking to? Keith Henderson: Are you talking about this or Elmo Cardona: Well Keith Henderson: that? Stephen Johnson: Either Sam Mcmahan: Oh Stephen Johnson: of them. Sam Mcmahan: yes, we are talking about, Keith Henderson: Mm-hmm. Sam Mcmahan: but they have the same shape, but, Stephen Johnson: Mm. Elmo Cardona: Yeah. Sam Mcmahan: actually Stephen Johnson: They're both Sam Mcmahan: bu Stephen Johnson: going to be not basic cases. Sam Mcmahan: So th th this would be double curves? Stephen Johnson: Mm-hmm. Keith Henderson: Yeah. Sam Mcmahan: 'Kay. Uh, plastic would Stephen Johnson: Yeah. Sam Mcmahan: be the Stephen Johnson: The basic one, Sam Mcmahan: material. Stephen Johnson: yep. Elmo Cardona: Is it zero Franc? Keith Henderson: A special colour? Sam Mcmahan: Uh special colour, now we leave it to the covers. Keith Henderson: Uh Stephen Johnson: So now we're either going Sam Mcmahan: Push. Stephen Johnson: button or L_C_D_s, L_C_D_ display. Sam Mcmahan: Mm, yes, but Elmo Cardona: L_C_D_ is. It's okay. Just say L_C_D_. Stephen Johnson: Is that price per unit, or for the whole Sam Mcmahan: Yeah Keith Henderson: Ah Sam Mcmahan: th Stephen Johnson: thing? Keith Henderson: good. Sam Mcmahan: now this is per per unit, Stephen Johnson: So Sam Mcmahan: this Stephen Johnson: it Sam Mcmahan: number Stephen Johnson: would Sam Mcmahan: of Stephen Johnson: need Sam Mcmahan: components. Stephen Johnson: twelve Keith Henderson: Yeah, Stephen Johnson: buttons. Keith Henderson: we might need a scroll wheel, right, for that? Elmo Cardona: No but for this one it's twelve Keith Henderson: No, Elmo Cardona: Euro. Keith Henderson: for that one also. Elmo Cardona: There are twelve? Sam Mcmahan: So, Keith Henderson: Yeah that's a scroll. Sam Mcmahan: one, two, three, four, five, six, seven, eight, nine, t Yes. Twelve I believe. So this comes to eighteen. Stephen Johnson: Mm. And that's without any special button supplements. Keith Henderson: Yeah, one scroll wheel you might need. Sam Mcmahan: So Stephen Johnson: So we'd have a special colour, special form and special material on all of them. They're not just Keith Henderson: Uh Stephen Johnson: standard buttons. Sam Mcmahan: So I think but th do you agree Elmo Cardona: Wait a Sam Mcmahan: th Elmo Cardona: minute, Sam Mcmahan: that Elmo Cardona: it's Sam Mcmahan: thi Elmo Cardona: not it's not double curved, it's single curved, right? Because it's there is no like. Sam Mcmahan: Yes Stephen Johnson: But Sam Mcmahan: I Stephen Johnson: I thought it would be curved on two it's like it's curved on the sides and curved on the top and bottom Sam Mcmahan: Yes Stephen Johnson: as Sam Mcmahan: I'm Stephen Johnson: well, Sam Mcmahan: I'm Stephen Johnson: that's Sam Mcmahan: no Stephen Johnson: what Sam Mcmahan: I'm Stephen Johnson: I thought. Sam Mcmahan: no I'm not sh sure. Elmo Cardona: Well it's Sam Mcmahan: Yes I kno undes I understand Elmo Cardona: you know Sam Mcmahan: what you mean, Elmo Cardona: this Sam Mcmahan: yes. Elmo Cardona: curve like this so, it's w there is only is is is there is nothing like y you know in the other stuff Stephen Johnson: You talking about Elmo Cardona: there Stephen Johnson: concave Elmo Cardona: are Sam Mcmahan: Uh-huh. Elmo Cardona: yeah concave. Stephen Johnson: curves? Elmo Cardona: So I Sam Mcmahan: Both. Elmo Cardona: think we can put um Stephen Johnson: You think a single curved? Elmo Cardona: the single curved in the sixteen. That makes uh seventeen. And what are just The bt buttons, we have twelve buttons, are you sure? Yeah. Stephen Johnson: Mm. Sam Mcmahan: Yes. Uh Stephen Johnson: We have more, we've got those the scroll Elmo Cardona: So Stephen Johnson: wheel on the side Elmo Cardona: I had a Stephen Johnson: and Elmo Cardona: bad uh Stephen Johnson: yeah Keith Henderson: Bad estimate, Sam Mcmahan: W d Keith Henderson: right? Stephen Johnson: The sc Elmo Cardona: bad estimation. Sam Mcmahan: we have we haven't talk about a, but that's no a is very exp inexpensive Stephen Johnson: Mm. Sam Mcmahan: I believe but it is not in the list. Stephen Johnson: We've got a scroll wheel for the volume don't we, or is it some other thing that's not on there. Sam Mcmahan: W ho h is this a scroll wheel or is this a a a sort Elmo Cardona: No no Sam Mcmahan: of Elmo Cardona: no. Sam Mcmahan: button which can be pressed on two sides uh so for higher and lower? Stephen Johnson: 'Kay we've only got five minutes left guys so we need to wrap it up pretty fast. Elmo Cardona: Yes, a kind of scroll wheel. Stephen Johnson: So this is even more than the um Sam Mcmahan: Mm. Stephen Johnson: than the cost you gave, the sixteen Euros. Sam Mcmahan: Mm-hmm. Elmo Cardona: Okay, so based on that, yeah, um where is the es okay sample speaker Keith Henderson: That is the sample sensor and sample speaker. Sam Mcmahan: So um Elmo Cardona: But still, yeah Keith Henderson: We just Elmo Cardona: it Keith Henderson: need that actually. Sam Mcmahan: We're Keith Henderson: We need one. Sam Mcmahan: We We could go for the for the for the for the for a simple chip, but then we can't have the the speech recognition, yes? Yes? Elmo Cardona: No we cannot, yeah. Sam Mcmahan: So so Elmo Cardona: So Keith Henderson: S Sam Mcmahan: w when we w a Elmo Cardona: But the Sam Mcmahan: this Elmo Cardona: um Sam Mcmahan: would this would be cutting the speech recognition. Elmo Cardona: Yeah but if you have the near the L_C_D_ you can um choose select between um you know like uni universal between audio, T_V_ and V_C_R_, and this needs a needs a advanced chip. Sam Mcmahan: Transti Elmo Cardona: Right, Matthew? Keith Henderson: Oh I i Elmo Cardona: Or Keith Henderson: it Elmo Cardona: regular chip? Keith Henderson: I think it's going Elmo Cardona: I think Keith Henderson: to be y Elmo Cardona: yeah regular, Keith Henderson: y yeah Elmo Cardona: today Keith Henderson: it's th Elmo Cardona: we you can do that Sam Mcmahan: Say Elmo Cardona: with Keith Henderson: with Elmo Cardona: regular Keith Henderson: the regular Elmo Cardona: chip. Keith Henderson: chip, Sam Mcmahan: say Keith Henderson: yeah. Sam Mcmahan: it's regular, Elmo Cardona: Yeah. Okay. Sam Mcmahan: regular chip, Elmo Cardona: Okay. Sam Mcmahan: and we still Keith Henderson: Yeah. Sam Mcmahan: on fifteen, so Elmo Cardona: So. And what about the number of buttons buttons uh Sam Mcmahan: Yes but that maybe Elmo Cardona: my Sam Mcmahan: Well we can just say Elmo Cardona: Matthew? Keith Henderson: Uh Sam Mcmahan: one. Elmo Cardona: When you look at this w, this u uh item, Keith Henderson: Yeah. Sam Mcmahan: Ca l we are just Elmo Cardona: But Sam Mcmahan: when we just want to uh to cut the number of buttons we have to make seven to to fit in in twelve twelve fifty. So is it possible? Stephen Johnson: But that's seven basic buttons right, seven buttons without any adds-on, without special colours or form or material. Keith Henderson: That'll Sam Mcmahan: Mm-hmm. Keith Henderson: be then we have uh have to ask the user to press it several Elmo Cardona: You Keith Henderson: times. Elmo Cardona: cannot make a phone to your boss saying twelve fifty is really Sam Mcmahan: No no, he Elmo Cardona: really Sam Mcmahan: he Elmo Cardona: low, Stephen Johnson: Well Sam Mcmahan: he Elmo Cardona: no? Sam Mcmahan: I I Stephen Johnson: So the L_C_D_ display is is three Francs, sorry three Euros, Sam Mcmahan: Mm-hmm. Stephen Johnson: by itself. Elmo Cardona: And uh we don't want to to change that right? We Keith Henderson: Uh Elmo Cardona: we really want a L_C_D_ other Sam Mcmahan: Mm-hmm. Elmo Cardona: otherwise we w wouldn not get the market. Sam Mcmahan: Otherwise y Elmo Cardona: It's evident. Sam Mcmahan: you ha you have a s ve very normal uh thing like this. Elmo Cardona: Yeah. Stephen Johnson: Mm. So Elmo Cardona: And I Stephen Johnson: twelve Elmo Cardona: dunno Stephen Johnson: Euro fifty, we got two off of the battery, we can't do anything about that, so ten fifty, if we want an L_C_D_ dispra display, that's seven fifty um, so we've got seven fifty to use for the case and for the buttons. Sam Mcmahan: Mm. Stephen Johnson: And the chip. Sorry the chip's up there already. Sam Mcmahan: Mm-hmm, mm-hmm. Stephen Johnson: So we're gonna have to scale this down to get within budget, there's no doubt about that. Sam Mcmahan: A Elmo Cardona: So wha what what each of us think about the because it's measure point the L_C_D_, um Do you think it's important? Keith Henderson: Or we could even replace them by buttons actually. Elmo Cardona: Because sometimes whe when you watch the T_V_ in fact, you have a big display and maybe you don't need one more in your hands? I dunno, I'm just Keith Henderson: A actually Sam Mcmahan: Mm Stephen Johnson: Mm. Keith Henderson: it depends, Elmo Cardona: asking. Keith Henderson: it depends what kind of functionalities you want to add into it, Stephen Johnson: Yep. Keith Henderson: for example if you add two more functionalities then better you add two more buttons, or Stephen Johnson: Mm. Keith Henderson: and you'll have L_C_D_ display Stephen Johnson: Yeah. Keith Henderson: which is that is going to bring the cost by Stephen Johnson: I Keith Henderson: two Stephen Johnson: think, Keith Henderson: two Euros at least. Stephen Johnson: unless we can really drive these prices down we need to get rid of the L_C_D_ display. Keith Henderson: Okay so we can Elmo Cardona: Yeah, Keith Henderson: get Elmo Cardona: it's Keith Henderson: rid Elmo Cardona: true Keith Henderson: of it Elmo Cardona: yeah. Keith Henderson: and then add Elmo Cardona: But uh, Keith Henderson: a couple of buttons. Elmo Cardona: do we want that? On the market point of view, yeah. What do you think uh, L_C_D_ is a major feature, Sam Mcmahan: Mm. Elmo Cardona: or? Sam Mcmahan: I Stephen Johnson: For the price, it's gonna be what we can afford, and it's looking like we can't afford the L_C_D_ display, there's no way we can get it in there. Sam Mcmahan: I think we have to come to a decision Stephen Johnson: Mm. Sam Mcmahan: now, just I I think we we what we just do i is vote about the uh the L_C_D_ Stephen Johnson: Mm-hmm. Sam Mcmahan: uh display so Elmo Cardona: You assume, you want a democratic voyt vote, right? Sam Mcmahan: Yes. Elmo Cardona: Okay. Sam Mcmahan: Yes. Yes. Elmo Cardona: Okay. Sam Mcmahan: One man one vote. S so who thinks the the L_C_D_ disply display should be i should be in it? Stephen Johnson: I th I'd like t it to be in but I can't see it happening. I can't Sam Mcmahan: Mm. Stephen Johnson: see it fitting in. Sam Mcmahan: Mm-hmm mm-hmm. Keith Henderson: I think but Elmo Cardona: We Stephen Johnson: Bu y Elmo Cardona: need to Stephen Johnson: you're Elmo Cardona: be. Stephen Johnson: a power voter uh veto anyway as Project Sam Mcmahan: Mm-hmm, Stephen Johnson: Manager. Sam Mcmahan: I know, Elmo Cardona: Yeah. Sam Mcmahan: but Keith Henderson: Yeah but the only thing is that what is the multiple functionalities you want to include with that. Stephen Johnson: well we have to make a decision now, that's Keith Henderson: Yeah. Stephen Johnson: it. Sam Mcmahan: Yes. So uh uh having an L_C_D_ s display is just uh uh have very very limited amount of buttons. Is that acceptable? Ca can I have can the functions be implement in an Elmo Cardona: Yes. Sam Mcmahan: You've you you agree. Keith Henderson: W I I Sam Mcmahan: So hav Keith Henderson: I just Sam Mcmahan: hav having seven buttons, instead of twelve. Keith Henderson: Yeah. Sam Mcmahan: So that wou would be cutting cutting suh say about these buttons. Elmo Cardona: Because one yeah th show Stephen Johnson that uh actually we could in fact we move these three buttons and have three uh possibilities for each of the three here. Sam Mcmahan: Mm. Elmo Cardona: Here one, at the middle, and at the Stephen Johnson: Mm. Elmo Cardona: bottom. Stephen Johnson: I think then we we're really losing ease of use. Elmo Cardona: Okay, Keith Henderson: That will create another problem. For the people to use it. It's not going to be easy. Stephen Johnson: Okay. Elmo Cardona: Okay. Sam Mcmahan: Mm. Keith Henderson: Doing that. Sam Mcmahan: So um I I think we should we should cut the L_C_D_ screen. That that's that's my opinion. Keith Henderson: No, it's okay, you uh cut Sam Mcmahan: Just Keith Henderson: the L_C_D_ screen and introduce two more buttons. Stephen Johnson: Okay. So L_C_D_'s out, is speech rec out now? We've Elmo Cardona: The speech recognition is out. Stephen Johnson: Yep. Sam Mcmahan: Uh where, L_C_ Elmo Cardona: Because of the budget, yeah. Stephen Johnson: Yep. Sam Mcmahan: Okay w we now we can just uh Stephen Johnson: So are we basically back to the original one now, back to the first version? Which turns out to be on budget exactly, pretty much. Keith Henderson: Yeah. Stephen Johnson: With these new costings. Elmo Cardona: Yes. Stephen Johnson: So just look at forget that one and look at that one now. Sam Mcmahan: Yes. Elmo Cardona: Yeah. Sam Mcmahan: Yes. I th I th I think w we just go for this one and that Stephen Johnson: Mm. Sam Mcmahan: that now twelve Euros is the Stephen Johnson: Yep. Sam Mcmahan: is is the price, okay. Stephen Johnson: Okay. Sam Mcmahan: My m my Stephen Johnson: Well that's Sam Mcmahan: supervisor Stephen Johnson: that's Sam Mcmahan: will be glad that it's fifty cents Stephen Johnson: Yep. Sam Mcmahan: cheaper than Elmo Cardona: Actually Sam Mcmahan: he Elmo Cardona: yeah, Sam Mcmahan: expected. Elmo Cardona: we we Stephen Johnson: So. Elmo Cardona: we will not need the really uh expert designers Stephen Johnson: Mm. Keith Henderson: Yeah. Elmo Cardona: um because the amount, yeah. Stephen Johnson: Yep. Sam Mcmahan: Okay. Stephen Johnson: So w we can go back and l talk to the suppliers maybe and see if we can drive the prices down to add a few more things in but that's all we can do with the restrictions we have at the moment. Sam Mcmahan: Okay, good. Then we the same. Thank you. Keith Henderson: Okay. Sam Mcmahan: That was it. Stephen Johnson: Mm-hmm. Keith Henderson: That's it. Elmo Cardona: Thanks. Keith Henderson: Cool. Stephen Johnson: Okay.

As the meeting opens Sam Mcmahan tells the group that they must stay within the budget of twelve Euro and fifty cents or will have to redesign. After Matthew arrives the designers begin presenting the two prototypes, beginning with the basic conventional one which is shaped like a surfboard and costs 7 or 8 Euros to produce. It contains an on-off button, volume switch, up/down channel function, 10 digits, and two extra buttons for teletext and an additional function. The next control is futuristic because feels like a mobile phone, has 6 keys, and is smooth. It also has a power button, channel up/down, slow pause/slow stop, LCD screen, toggle switch that changes it from audio to video, and microphone. It would cost 16 Euros to produce, which is out of the budget. Stephen Johnson gives the product evaluation and they rate them on look and feel, innovation, ease of use, appeal to the correct demographic, and adherence to the company motto and fashion trends. They discuss the energy source, shape, chip type, LCD and speech recognition, and additional buttons. After choosing features their remote costs 12 Euros to produce. They close the meeting by thanking one another.

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Wayne Brewer: How do you wear this thing? Robert Bonenfant: Hmm. Mm mm mm. Wayne Brewer: Not many stuff. Wayne Brewer: Original. Robert Bonenfant: 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 Wayne Brewer: 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 Robert Bonenfant: sorry? Wayne Brewer: It's true. I have another meeting so if you could uh Robert Bonenfant: You have another meeting soon? Wayne Brewer: Yeah. Robert Bonenfant: So you have to be quick. Wayne Brewer: Yeah, for the lawnmower project. Robert Bonenfant: Okay. Wayne Brewer: Okay. Robert Bonenfant: 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. Wayne Brewer: What an original idea. Robert Bonenfant: Do you have any idea of which animal you want to show us? Wayne Brewer: Orangutan. Robert Bonenfant: Okay that's good. Joseph Hillyer: No no Robert Bonenfant: n Joseph Hillyer: n Robert Bonenfant: n You Wayne Brewer: no? Robert Bonenfant: should Wayne Brewer: But I don't have to say anything. When I'm drawing the orangutan. Robert Bonenfant: If you want to react uh about this wonderful drawing uh I'll let you uh comment. Wayne Brewer: It's an abstract drawing of an orangutan. Robert Bonenfant: Okay it's an abstract drawing. Wayne Brewer: Yes. Robert Bonenfant: I think it's nice and original. Joseph Hillyer: You y the name Wayne Brewer: I don't Joseph Hillyer: I think. Wayne Brewer: have a red colour. Usually orangutans have red hair so this is a very important but I don't have red pen, so Robert Bonenfant: Okay. Wayne Brewer: Yes. Robert Bonenfant: You want to draw something Christine? Raymond Hudspeth: Okay uh sorry. You This Robert Bonenfant: Of course your animal is recorded so it's not lost. Wayne Brewer: Yes. I know. Raymond Hudspeth: Sorry too uh. Robert Bonenfant: Is Wayne Brewer: Wha Robert Bonenfant: this uh Wayne Brewer: what Raymond Hudspeth: Is it beautiful? Wayne Brewer: is this strange beast? Is it a monster? Raymond Hudspeth: Do you know? It's a cat. Wayne Brewer: It's a cat? Raymond Hudspeth: Isn't it? Wayne Brewer: I thought these things did not exist. Raymond Hudspeth: Yes Joseph Hillyer: Raymond Hudspeth Raymond Hudspeth: yes is it like that. Is Joseph Hillyer: Ah Wayne Brewer: Ah Joseph Hillyer: yeah. Raymond Hudspeth: it better? Robert Bonenfant: Ah okay Wayne Brewer: yeah Joseph Hillyer: Yeah. Robert Bonenfant: it's pretty. Raymond Hudspeth: Okay. It's my cat. Robert Bonenfant: Okay it's your cat. Wayne Brewer: Does Raymond Hudspeth: Yeah. Wayne Brewer: have a name? Raymond Hudspeth: The name is Caramel. Wayne Brewer: Caramel. Joseph Hillyer: Caramel. Wayne Brewer: Ah-ha. Raymond Hudspeth: Yeah. Robert Bonenfant: Okay. Olivier, Joseph Hillyer: And you Robert Bonenfant: do you want to Joseph Hillyer: I think I'm too short for the cables. Robert Bonenfant: Okay I go, but next time you'll do something I'm sure. Wayne Brewer: Next time I concentrate. Robert Bonenfant: 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 Wayne Brewer: He looks like a bong. Robert Bonenfant: Like a what? Wayne Brewer: Okay. Sorry. No. Joseph Hillyer: Quite squarey. Wayne Brewer: Scary? Joseph Hillyer: He also. Robert Bonenfant: I dunno it it looks more like a donkey in fact I would say. Joseph Hillyer: Mm. Wayne Brewer: I I think we will Robert Bonenfant: Okay Wayne Brewer: be finished Robert Bonenfant: so Wayne Brewer: this uh Robert Bonenfant: I hope that it helps you uh in the process of designing Wayne Brewer: Is it Robert Bonenfant: a Wayne Brewer: for Robert Bonenfant: remote Wayne Brewer: uh Robert Bonenfant: control. Wayne Brewer: for putting a for logos, no. That's Robert Bonenfant: 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. Wayne Brewer: I is there a matter for a new remote control? Robert Bonenfant: Yeah if it's trendy, original I d fulfil Wayne Brewer: Is it uh Robert Bonenfant: the user Wayne Brewer: a Robert Bonenfant: needs. Wayne Brewer: single device remote control or is it a multi-device remote control? Robert Bonenfant: We have to discuss that point. Wayne Brewer: Ah this is not Robert Bonenfant: On Wayne Brewer: defined at all? Robert Bonenfant: yeah you you can suggest points like Wayne Brewer: Ah, Robert Bonenfant: this. So Wayne Brewer: okay. Robert Bonenfant: 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 Wayne Brewer: Well uh Robert Bonenfant: from Wayne Brewer: do we sell Robert Bonenfant: the marketing Wayne Brewer: other stuff? Robert Bonenfant: side? Wayne Brewer: 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. Robert Bonenfant: Okay, so if it selled uh by its own i it it would rather be for multiple device. Wayne Brewer: Yeah. Robert Bonenfant: Do you agree? Joseph Hillyer: Mm-hmm. Robert Bonenfant: 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? Joseph Hillyer: I think we shouldn't have too many b for Wayne Brewer: No, Joseph Hillyer: my part. Wayne Brewer: I Joseph Hillyer: I Wayne Brewer: couldn Joseph Hillyer: think Wayne Brewer: I cannot fi think of any requirements right now. Joseph Hillyer: If we don't have so many buttons could be nice. Robert Bonenfant: 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. Joseph Hillyer: Yeah. Robert Bonenfant: 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? Wayne Brewer: Mm. Robert Bonenfant: With rou okay. Like for okay. Wayne Brewer: Something like that, least fits in your hand. Joseph Hillyer: Yeah. Robert Bonenfant: Okay. Wayne Brewer: Yeah. The basic requirement. Robert Bonenfant: So. Fit in your hand, yeah. Wayne Brewer: Only a buck. Robert Bonenfant: 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 Joseph Hillyer: Mm-hmm. Robert Bonenfant: that can happen Wayne Brewer: Waterproof. Robert Bonenfant: if it fall. Water-proof as well. Joseph Hillyer: And I Robert Bonenfant: Maybe Joseph Hillyer: think we Robert Bonenfant: it Joseph Hillyer: should Robert Bonenfant: is original Joseph Hillyer: have a device Robert Bonenfant: because you can uh use it in your uh in your bath whereas the others can't. Maybe water-proof would be very original. Joseph Hillyer: Sorry. Robert Bonenfant: Havin having a water-proof remote control so that the people can uh use it in their bath. Wayne Brewer: Mm. Robert Bonenfant: That could Wayne Brewer: B it Robert Bonenfant: be Wayne Brewer: seems Robert Bonenfant: uh Wayne Brewer: 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 Robert Bonenfant: Yeah Wayne Brewer: f Robert Bonenfant: but, it is still something uh you have to buy and that is um Wayne Brewer: And, and Robert Bonenfant: not Wayne Brewer: that's one Robert Bonenfant: maybe Wayne Brewer: of the Robert Bonenfant: very Wayne Brewer: 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. Robert Bonenfant: Yeah, Wayne Brewer: That's Robert Bonenfant: mayb Wayne Brewer: people they actually Robert Bonenfant: B Wayne Brewer: do it themselves. Robert Bonenfant: But maybe we can bulk it with uh already this plastic thing Joseph Hillyer: Yeah. Robert Bonenfant: and uh the waterproof Joseph Hillyer: directly. Robert Bonenfant: uh Wayne Brewer: I it Robert Bonenfant: stuff Wayne Brewer: will look Robert Bonenfant: as Wayne Brewer: a Robert Bonenfant: well. Wayne Brewer: bulky in that case. Robert Bonenfant: Yeah. Joseph Hillyer: Yeah. Robert Bonenfant: 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. Wayne Brewer: Like as an optional thing. Robert Bonenfant: Optional or selled Joseph Hillyer: And I I think we Robert Bonenfant: with Joseph Hillyer: should Robert Bonenfant: it? Joseph Hillyer: have something, most of the time I I lose my remote control. We should have Robert Bonenfant: Yeah. Joseph Hillyer: s uh special bu button on the T_V_ Robert Bonenfant: Maybe we Joseph Hillyer: to Robert Bonenfant: can Joseph Hillyer: make Robert Bonenfant: have uh Joseph Hillyer: the remote control beeping. Robert Bonenfant: But we don't design the T_V_. Joseph Hillyer: Ah Robert Bonenfant: Maybe we Joseph Hillyer: yeah. Robert Bonenfant: can have uh something you whistle and uh the remote control uh beep. Joseph Hillyer: Yeah. Wayne Brewer: Barks. Robert Bonenfant: Yeah, Joseph Hillyer: Barks. Robert Bonenfant: barks, yeah. So we can uh have a whistle uh remote control? Joseph Hillyer: Yeah. Yeah whistle. Robert Bonenfant: I don't know, whistle-able? Joseph Hillyer: Whistle Robert Bonenfant: Th Joseph Hillyer: tracking. Robert Bonenfant: Whistle tracking yeah. Whistle tracking remote control. That's a good idea, that's very original and that's can Wayne Brewer: That's that's Robert Bonenfant: uh improve. Wayne Brewer: quite cool, but uh of course we you don't normally need uh any audio uh recording stuff on your remote control right? Robert Bonenfant: Yeah d d Wayne Brewer: So Robert Bonenfant: uh. Wayne Brewer: i it's just going to add t to the cost. Robert Bonenfant: Yeah but s still we have to mm we have to have an advantage over our competitors. I think this is a good advantage. Wayne Brewer: It's cool. I think I like the idea, but I'm not sure about the what you, who Robert Bonenfant: Yeah. Wayne Brewer: is giving who's Robert Bonenfant: We have Wayne Brewer: giving Robert Bonenfant: to Wayne Brewer: who's Robert Bonenfant: ask Wayne Brewer: giving our budget. Who's Robert Bonenfant: Yeah. We have to ask the quest of Wayne Brewer: Yeah. Robert Bonenfant: that's uh design to Wayne Brewer: Yeah. Robert Bonenfant: the uh Industrial um Designer. Joseph Hillyer: Yeah. Robert Bonenfant: Which is Wayne Brewer: 'Kay. Robert Bonenfant: you. Joseph Hillyer: yeah Robert Bonenfant: Okay so try to find that for next meeting. Joseph Hillyer: Okay. Robert Bonenfant: Okay. So next meeting is in thirty minutes or so uh. Joseph Hillyer: Don't panic. Robert Bonenfant: Don't pani. So so I will ask Joseph Hillyer to find out more about this industrial design Joseph Hillyer: Mm-hmm. Robert Bonenfant: 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 Wayne Brewer: Mm-hmm. Robert Bonenfant: 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. Wayne Brewer: Mm. Robert Bonenfant: So. Thank you I think that's Wayne Brewer: Good. Joseph Hillyer: Mm-hmm. Robert Bonenfant: all for this point. Raymond Hudspeth: Thank you Wayne Brewer: Uh, so we come back in five minutes? Half an hour. Robert Bonenfant: Anyway you will receive some messages. Robert Bonenfant: 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. Joseph Hillyer: Ah.

Robert Bonenfant 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. Robert Bonenfant 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. Robert Bonenfant then instructed Wayne Brewer 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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Woodrow Reichert: Okay. Nathaniel Day: Mm-hmm. Woodrow Reichert: 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 Nathaniel Day: Abdul Woodrow Reichert: U_I_ Nathaniel Day: al-Hasred is my name. Woodrow Reichert: 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. Charles Avila: Uh, I_D_ you want? Woodrow Reichert: Maybe I can switch slide Charles Avila: Yeah. Woodrow Reichert: uh on your request. Charles Avila: I v have three slides, so. I just look at the mm um just this. On some web pages Woodrow Reichert: Yeah. Charles Avila: 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. Charles Avila: standard, and uh I just looked for the wheel sensor and the standard push button. And um yeah we can change directly. Woodrow Reichert: Yeah. Charles Avila: 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. Woodrow Reichert: Okay. Nathaniel Day: Mm-hmm. Charles Avila: 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. Woodrow Reichert: Okay. Charles Avila: Uh Nathaniel Day: Yeah. Charles Avila: a wheel sensor is fifty time the price of a a a push button. Woodrow Reichert: But Nathaniel Day: Mm. Woodrow Reichert: is it a significant price on the whole remote control? Because Charles Avila: Yeah. Woodrow Reichert: we can afford up to twelve Euros for the price of the remote control. Charles Avila: Yeah I I Woodrow Reichert: So Charles Avila: th Woodrow Reichert: will will will this with uh including all possible things, so buttons, wheel and the chip, be uh lower than twelve Euros to produce? Charles Avila: But I don't think that uh we should We should talk about uh the Nathaniel Day: Yeah. Charles Avila: design of the box also which Woodrow Reichert: Okay Charles Avila: needs some Nathaniel Day: Also Charles Avila: money. Nathaniel Day: have to Charles Avila: But Nathaniel Day: say Did you receive the email about the voice recognition? Charles Avila: Um that's all Nathaniel Day: No? Charles Avila: yeah. Woodrow Reichert: You received Charles Avila: I haven't Woodrow Reichert: something Charles Avila: chec Nathaniel Day: Yeah. You we uh an email from the manufacturing division that they have basically a voice recognition chip already developed. Woodrow Reichert: Hmm. Nathaniel Day: Says Yeah. It says that ri right now they just use it to uh to record uh answers to particular questions. But I guess Woodrow Reichert: And Nathaniel Day: it could Woodrow Reichert: could Nathaniel Day: be Woodrow Reichert: it be adapted? Nathaniel Day: I guess it's possible. I mean instead of recording the answers you can just uh record uh something simpler like Woodrow Reichert: Okay Nathaniel Day: a Woodrow Reichert: and Nathaniel Day: command. Woodrow Reichert: there can uh recognize some commands Nathaniel Day: Yeah Woodrow Reichert: and stuff? Nathaniel Day: you reco recognize commands and you can record new commands and stuff, so if they already Woodrow Reichert: Okay. Nathaniel Day: have it as uh as a chip Woodrow Reichert: Yeah. Nathaniel Day: then we we could use it. Woodrow Reichert: Okay maybe we can just uh listen to this presentation and then take decision later Nathaniel Day: Okay. Charles Avila: Mm-hmm. Woodrow Reichert: on according Charles Avila: Yeah Woodrow Reichert: to those news. Charles Avila: 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, Woodrow Reichert: Okay. Charles Avila: and if we could reduce that. We Nathaniel Day: Mm-hmm. Charles Avila: we have already some good things uh with um um with the backlight of the push button. Nathaniel Day: I have a question about that actually. Um, what is the purpose of the light? Charles Avila: Just to to make something which is uh slightly more design that uh a Nathaniel Day: Is Charles Avila: squarey box Woodrow Reichert: You can Charles Avila: with Woodrow Reichert: easily Charles Avila: a rubber Woodrow Reichert: find the button Nathaniel Day: But Woodrow Reichert: in the dark or so? Nathaniel Day: But in th in the dark uh Yeah but is going to be always turned on, the light? Woodrow Reichert: It will be turned on when the when the user move the remote control I think, no? Nathaniel Day: But if you move it then you have it, you don't need to find it. Woodrow Reichert: Hmm. Nathaniel Day: You can see the buttons better, of course. Woodrow Reichert: Yeah. Nathaniel Day: Yeah. Woodrow Reichert: Yeah. Yeah. True. Charles Avila: Yeah. Actually. Nathaniel Day: But if you move it then you have to have some sensor to when you move it to detect your movement. Charles Avila: As soon as you thought to move the the remote control you have the light. Nathaniel Day: Yeah, but you need another sensor for that, right? Charles Avila: Yeah. Again. Nathaniel Day: Yeah no it's too expensive. Charles Avila: I don't think that this is really expensive, but Nathaniel Day: Okay. Charles Avila: at the end this is plenty of Nathaniel Day: Mm. Charles Avila: unexpen eh Nathaniel Day: Extra. Charles Avila: very cheap Nathaniel Day: Yeah, okay. Charles Avila: devices but uh Nathaniel Day: Mm. Charles Avila: the bill starts to be Nathaniel Day: Yeah, but I expected also the wheel would be cheap but you tell Jason Gene that it is very expensive so, yeah. Charles Avila: 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 Nathaniel Day: Mm. Charles Avila: the light on your remote control, when Nathaniel Day: Mm-hmm. Charles Avila: you want to turn off your device Woodrow Reichert: But it can be uh battery consuming, no? To Charles Avila: Yeah, Woodrow Reichert: have Charles Avila: a Woodrow Reichert: the light Charles Avila: little Woodrow Reichert: always on? Charles Avila: bit. A little Nathaniel Day: Mm. Charles Avila: bit. Woodrow Reichert: Well we will discuss that after maybe Charles Avila: Yeah. Nathaniel Day: Okay. Woodrow Reichert: the Nathaniel Day: So Woodrow Reichert: other presentations. Nathaniel Day: uh my one, it uh should be in the shared folder. Woodrow Reichert: Yeah. Nathaniel Day: So. It was last time I saw it. Woodrow Reichert: And it is. Nathaniel Day: Okay. So, Woodrow Reichert: Okay. Nathaniel Day: just move to the next slide. So basically want very simple, right? That's the major idea, as simple Woodrow Reichert: Yeah. Nathaniel Day: as possible. Woodrow Reichert: Yeah. Nathaniel Day: 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 Woodrow Reichert: Yeah. Nathaniel Day: and it become even simpler. Um. So. Woodrow Reichert: And also does it uh fit well in hand? Because it was uh th Nathaniel Day: Yeah. Woodrow Reichert: your wrist problem Nathaniel Day: Well this Woodrow Reichert: with the usage. Nathaniel Day: 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 Woodrow Reichert: Yeah. Nathaniel Day: of them, we just need the ones in the middle. Charles Avila: Yeah. Woodrow Reichert: Yeah. Nathaniel Day: So, from the bottom or whatever is there, Woodrow Reichert: Yeah. Nathaniel Day: uh the uh the numbers and then the top, uh until the ten also, this middle part, Woodrow Reichert: Yeah. Nathaniel Day: 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? Woodrow Reichert: Yeah. Nathaniel Day: These are the basic thing. Woodrow Reichert: So it's only the central part. Nathaniel Day: So basically, w software we will build will look more or less the same as these two. Woodrow Reichert: Yeah. With a maybe a more ergonomic design on on the Nathaniel Day: Yeah, if you Woodrow Reichert: bottom Nathaniel Day: have, for Woodrow Reichert: part. Nathaniel Day: 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 Woodrow Reichert: Yeah. Nathaniel Day: could be on the right side, for example. Woodrow Reichert: Okay. Nathaniel Day: 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 Woodrow Reichert: Okay. Nathaniel Day: idea because you open it, it can break, you ca you can do various things. Uh Woodrow Reichert: Okay. Nathaniel Day: you just need Woodrow Reichert: S Nathaniel Day: to put the channel numbers somewhere a bit out of the way. Woodrow Reichert: Okay. Nathaniel Day: So Woodrow Reichert: Will Nathaniel Day: that they're separate Woodrow Reichert: be down Nathaniel Day: a bit, Woodrow Reichert: or Nathaniel Day: yeah. Woodrow Reichert: Okay. Nathaniel Day: 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. Woodrow Reichert: Okay. Nathaniel Day: 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 Woodrow Reichert: Okay. Nathaniel Day: stuff like that. Yeah. That you want to protect a bit. And I think it's uh it's reasonable. Woodrow Reichert: Okay. Nathaniel Day: So, I don't think Yeah, this is just the the wheel. We could Woodrow Reichert: Mm. Nathaniel Day: use the some wheels can be pushed down, could use the push down of the wheel for the record if we want. Charles Avila: Mm-hmm. Nathaniel Day: Uh so we could just basically use one just wheel and uh user could use just the wheel to do everything with Woodrow Reichert: Yeah. Nathaniel Day: the channels in that case. Woodrow Reichert: Maybe the wheel will be a good advantage over our competitors. Charles Avila: Mm-hmm. Woodrow Reichert: Because otherwise it's pretty standard apart the fact that it's very simple. So maybe it's worse to uh Charles Avila: To Woodrow Reichert: to Charles Avila: s Woodrow Reichert: have more expense on that's that aspect. Charles Avila: Mm-hmm. Nathaniel Day: Yeah, I guess the market researcher will tell us all about that. Woodrow Reichert: 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? Woodrow Reichert: Okay. Jason Gene: Okay, I can go? Can Woodrow Reichert: Yeah. Jason Gene: 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. Woodrow Reichert: Okay. Jason Gene: And the third most important aspect is to to is that the co remote control should be easy to use. about before. Nathaniel Day: Mm-hmm. Woodrow Reichert: Yeah. Jason Gene: Yeah. And um so you you can go Woodrow Reichert: Yeah. Jason Gene: 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 Woodrow Reichert: Okay. Jason Gene: like that, or Charles Avila: I support an apple. Jason Gene: And the mm the material is expected to be spongy. Uh I don't know which material can be spongy, Woodrow Reichert: Yeah. Jason Gene: and if you Woodrow Reichert: This is good Nathaniel Day: Well, Woodrow Reichert: also Nathaniel Day: wou wou Woodrow Reichert: for Nathaniel Day: I think we can certainly just put the electronics in a spongy thing, it it Charles Avila: Yeah. Nathaniel Day: would work, right? Woodrow Reichert: Yeah. Jason Gene: Mm-hmm. Charles Avila: Yeah. Nathaniel Day: Yeah. Woodrow Reichert: I think it is good also f to have a spongy Nathaniel Day: You can throw it to Woodrow Reichert: material, Nathaniel Day: the television. Woodrow Reichert: yeah. Yeah, because Jason Gene: Okay Woodrow Reichert: it's Charles Avila: Yeah. Woodrow Reichert: robust. Charles Avila: Jason Gene too. Jason Gene: It's robust, yeah. Nathaniel Day: 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. Woodrow Reichert: Yeah uh Charles Avila: Ah Jason Gene: Not good. Woodrow Reichert: sorry? Charles Avila: it's okay. I know that they do that for alarm clock Jason Gene: An Charles Avila: also. Nathaniel Day: Yeah. Jason Gene: and and uh this uh you can yeah you can say that. You ca uh you Woodrow Reichert: No. Jason Gene: can go Woodrow Reichert: Yeah. Jason Gene: uh before, Woodrow Reichert: Before? Jason Gene: before, yes. And you know here the more iz important aspect is the fancy look and feel, Woodrow Reichert: Yeah. Jason Gene: after is uh technological innovative, Woodrow Reichert: Yeah. Jason Gene: and after the easy to Woodrow Reichert: Yeah. Jason Gene: use. Woodrow Reichert: I think it's innovative to use the mm the wheel because I Charles Avila: Yeah. Woodrow Reichert: think Jason Gene: Yeah Woodrow Reichert: no one Jason Gene: that's why Woodrow Reichert: else has. Jason Gene: Yeah Woodrow Reichert: Has Jason Gene: that's Woodrow Reichert: it? Jason Gene: why I think we have to keep that if it's possible. Woodrow Reichert: Yeah. I think Charles Avila: Mm-hmm. Woodrow Reichert: it's it makes it both easy and both innos innovative. Jason Gene: Innovative. Woodrow Reichert: So Jason Gene: Mm. Woodrow Reichert: I think it's a good aspect and it should Nathaniel Day: How Woodrow Reichert: be Nathaniel Day: do Woodrow Reichert: kept. Nathaniel Day: we make it look cool is the question. Woodrow Reichert: Cool, fancy? Nathaniel Day: Yeah. Woodrow Reichert: We have to make it l look like a fruit or vegetable. Jason Gene: Yeah. Woodrow Reichert: Maybe Charles Avila: What about Woodrow Reichert: uh Charles Avila: um Woodrow Reichert: um Jason Gene: Mm. Woodrow Reichert: a colour that remember Jason Gene: Oh, Woodrow Reichert: some Jason Gene: colour, Woodrow Reichert: fruit Jason Gene: yeah. Woodrow Reichert: uh, things like that. Nathaniel Day: Well the obvious thing Jason Gene: Oh i Nathaniel Day: is a banana, I guess. Jason Gene: i Woodrow Reichert: Maybe yeah. Jason Gene: I thought about a a pear, for example. You know the pear, is like that and it's it's easy to Woodrow Reichert: Yeah, Jason Gene: to have in in Woodrow Reichert: and Jason Gene: hand Woodrow Reichert: it's ergonomic Jason Gene: and uh Woodrow Reichert: as well. Jason Gene: Yeah. Woodrow Reichert: A pear. Nathaniel Day: The banana is also ergonomic. Woodrow Reichert: Yeah. Maybe pear yeah or something like that. Jason Gene: Or a fruit like that. I dunno. Woodrow Reichert: Yeah. We can discuss that uh. D D Is is there anything you want to add? Nathaniel Day: Is there any fruit that is spongy? Woodrow Reichert: I don't think so. I think we we can have like yeah a pear is good, fit well, or banana as you told. Nathaniel Day: Yeah. Charles Avila: And Woodrow Reichert: Something like Charles Avila: for Woodrow Reichert: that. Charles Avila: maybe look and feel, what about a a piece of ice, with blue L_E_D_ inside? Woodrow Reichert: But that's Nathaniel Day: You can Woodrow Reichert: not Nathaniel Day: make Woodrow Reichert: in Nathaniel Day: it Woodrow Reichert: the trend. Nathaniel Day: um Charles Avila: Yeah. Woodrow Reichert: The trend is spongy, and vegetable Charles Avila: Yeah. Woodrow Reichert: fruits. Nathaniel Day: It's not hard, the metal. Charles Avila: Yeah. Woodrow Reichert: I Nathaniel Day: Plastic. Woodrow Reichert: think p spongy is good because it it will be robust as well. Charles Avila: Yep. Woodrow Reichert: So, I think we can keep the wheel because it's Charles Avila: Yeah. Woodrow Reichert: 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? Nathaniel Day: Mm. Woodrow Reichert: Odi Charles Avila: Banana I think, it's a nice idea. Woodrow Reichert: Banana is also Charles Avila: Because Woodrow Reichert: yellow so you you Charles Avila: But Woodrow Reichert: can't lost your remote control Jason Gene: Yeah. Woodrow Reichert: then. Nathaniel Day: Yeah. Charles Avila: You y you don't use the banana when the Nathaniel Day: Two of Charles Avila: banana Nathaniel Day: the button, Charles Avila: is Nathaniel Day: yeah. Charles Avila: curving like that, but when the banana is curving like that, Nathaniel Day: Yeah. Charles Avila: with the wheel on the top Nathaniel Day: Yeah. Charles Avila: and to control, and here you have Jason Gene: But you Charles Avila: a Jason Gene: don't Charles Avila: a Jason Gene: have Charles Avila: push button to Woodrow Reichert: I think Nathaniel Day: Yeah so you Woodrow Reichert: it's Nathaniel Day: can just Woodrow Reichert: a Nathaniel Day: have Woodrow Reichert: good Nathaniel Day: uh Woodrow Reichert: idea, yeah. Nathaniel Day: 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. Woodrow Reichert: Yeah. Nathaniel Day: So you can Charles Avila: Yeah. Nathaniel Day: have it on on two sides and it'll be cool, no? Woodrow Reichert: Yeah. then. Maybe we can keep the banana. And it will be very easy to find. Nathaniel Day: You Charles Avila: And Nathaniel Day: can put also Charles Avila: everybody Nathaniel Day: vibrator Charles Avila: knows Nathaniel Day: inside. Charles Avila: what is a banana. Basically. Jason Gene: Yeah. Charles Avila: If you if you start with uh fancy fruits and Nathaniel Day: Ah-ha. Charles Avila: fra s Nathaniel Day: You can Charles Avila: and Nathaniel Day: also Charles Avila: tha Nathaniel Day: take into account the fact that the banana fits with the colour scheme of our company. Charles Avila: Oh, Woodrow Reichert: Yeah. Charles Avila: yeah Nathaniel Day: Yeah. Woodrow Reichert: Yeah it's really uh really a good point. Nathaniel Day: I hope the students of management die, but anyway. Now who are recording this meeting? Woodrow Reichert: 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 Charles Avila: So Woodrow Reichert: we have to think about those aspects, sorry. Charles Avila: So we will just use a a standard battery? Woodrow Reichert: Yeah. Charles Avila: And uh the chip we chip imprint we know exactly which one we are going to use. Uh what do you mean by case? Woodrow Reichert: I think it's the box that should be spongy, banana's Charles Avila: Yeah. Woodrow Reichert: shape. Charles Avila: Uh I mean for Jason Gene if we use a a spongy banana case, doesn't matter. I just want to have so something Nathaniel Day: The only th Charles Avila: to prin to to fix my Nathaniel Day: Yeah. Charles Avila: my components onto that box, Nathaniel Day: Y Charles Avila: and Nathaniel Day: Yeah that Charles Avila: that's Nathaniel Day: can Charles Avila: it. Nathaniel Day: be in inside th in the Charles Avila: Yeah Nathaniel Day: structure. Charles Avila: yeah. Yeah. Nathaniel Day: But uh the thing is that the buttons and the wheel have to be I mean Charles Avila: Spongy Nathaniel Day: if it's spongy Charles Avila: also. Nathaniel Day: 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 Charles Avila: Oh Nathaniel Day: to Woodrow Reichert: But Charles Avila: no Nathaniel Day: push the Charles Avila: I think Nathaniel Day: buttons, Charles Avila: it's Nathaniel Day: it Charles Avila: possible. Nathaniel Day: You think it's Woodrow Reichert: No Nathaniel Day: possible? Woodrow Reichert: the button would be In fact it it should be something odd shaped, with Charles Avila: Yeah. Woodrow Reichert: a spongy cover. Nathaniel Day: Okay. Charles Avila: Yeah. This is uh like Nathaniel Day: Yeah. Charles Avila: the Woodrow Reichert: 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 Charles Avila: Mm-hmm. Wheel on the top. Button, where do we want some buttons? Nathaniel Day: Well, usually hold 'Kay, we want it to be good also for the left-hand users, right? Charles Avila: Yeah. Nathaniel Day: Uh Woodrow Reichert: So it have to it has to be symmetrical. Nathaniel Day: 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 Charles Avila: Yep. Nathaniel Day: yeah also the thumb. Charles Avila: Yep. Nathaniel Day: Basically. Or you could use use this one, but I don't know if it's very comfortable, to use Woodrow Reichert: Yeah Nathaniel Day: this one Woodrow Reichert: maybe Nathaniel Day: for the Woodrow Reichert: the Nathaniel Day: wheel. Woodrow Reichert: thumb is more comfortable. Nathaniel Day: This for the wheel and then this for the buttons? Woodrow Reichert: Yeah Nathaniel Day: Should Woodrow Reichert: I think Nathaniel Day: have Woodrow Reichert: it's Nathaniel Day: the Woodrow Reichert: okay Nathaniel Day: two sides. Woodrow Reichert: for both right and left. Charles Avila: Mm-hmm. Woodrow Reichert: Mm. Nathaniel Day: So if the left, we have the op Woodrow Reichert: I think you can turn it this way also. You can Nathaniel Day: Wheel Woodrow Reichert: do both with Nathaniel Day: Wheel buttons. Woodrow Reichert: both hands. Nathaniel Day: Yeah, the problem Woodrow Reichert: I think Nathaniel Day: is if Woodrow Reichert: it's Nathaniel Day: you have Woodrow Reichert: okay. Nathaniel Day: buttons and wheel then when you turn it around, the buttons are on the other side. So you cannot see them. Woodrow Reichert: Well, you Nathaniel Day: Yeah. Woodrow Reichert: you will get used to it. And moreover, Nathaniel Day: So the buttons have to be here Woodrow Reichert: th Nathaniel Day: and the wheel Woodrow Reichert: the button Nathaniel Day: has Woodrow Reichert: ar Nathaniel Day: to be Woodrow Reichert: are lighted so you you immediately identify the right side, because Nathaniel Day: Y Woodrow Reichert: you have light on buttons. Nathaniel Day: Yeah I know, but uh if you hold with your left hand, and the wheel is here, and the buttons are here, Woodrow Reichert: Yeah. Nathaniel Day: then when you turn it around the buttons will be on the other side. Woodrow Reichert: 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. Nathaniel Day: Okay. Woodrow Reichert: Yeah? Nathaniel Day: Okay. Maybe. Yeah. Woodrow Reichert: 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. Charles Avila: Mm-hmm. Nathaniel Day: Yeah. Woodrow Reichert: 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. Charles Avila: Mm-hmm. Woodrow Reichert: So so to prepare the prototype I would suggest that Charles Avila and Nathaniel Day uh work together. That would uh Charles Avila: Yeah. Woodrow Reichert: be better, I think. And uh And so uh you will receive further instruction by emails, as usual. Nathaniel Day: Mm-hmm. Woodrow Reichert: So Nathaniel Day: Yes master. Woodrow Reichert: do you need to add anything? Nathaniel Day: No. Woodrow Reichert: You feel okay? Nathaniel Day: Yeah. Woodrow Reichert: You feel uh free to express what you want to say? Nathaniel Day: Yeah. Woodrow Reichert: You don't feel too constrained? Nathaniel Day: No. Woodrow Reichert: You don't feel free to answer this? Nathaniel Day: Maybe you can make uh uh mm okay. Woodrow Reichert: Okay, so Charles Avila: Thank you. Woodrow Reichert: See you.

Charles Avila 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. Nathaniel Day 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. Jason Gene 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. Woodrow Reichert instructed Nathaniel Day and Charles Avila to construct the prototype, and announced that the prototype would be evaluated in the next meeting.

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Thomas Goodin: Okay. Je croix que c'est dommage de le it will be sad to destroy this prototype. It really looks like a banana. Robert Berger: It is a banana. Thomas Goodin: It is a Robert Berger: It Thomas Goodin: banana. Robert Berger: is of bananas. I would be confused with this thing. Thomas Goodin: Mm. Robert Berger: S Henry Carbonaro: Mm-hmm. Thomas Goodin: Okay. Robert Berger: How is everyone? Thomas Goodin: Hi. George Driever: Hi. Thomas Goodin: So we are here for the detailed design meeting. Robert Berger: Mm-hmm. Thomas Goodin: 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. George Driever: Mm-hmm. Thomas Goodin: 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 Robert Berger: Like Thomas Goodin: to Robert Berger: a banana. Thomas Goodin: feel spongy, and uh also at the different aspect like having a wheel George Driever: Mm-hmm. Thomas Goodin: 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. George Driever: Mm-hmm. Thomas Goodin: 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. Henry Carbonaro: Okay. So uh you can have my Thomas Goodin: Yeah. Henry Carbonaro: project in Thomas Goodin: You have a presentation? Henry Carbonaro: Uh yeah just a Thomas Goodin: Participant Henry Carbonaro: Four. Thomas Goodin: four, yes. Henry Carbonaro: Evaluation. Thomas Goodin: Okay. Okay. Henry Carbonaro: Okay. So you can go. We can go through. Thomas Goodin: Okay. Henry Carbonaro: 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 Thomas Goodin: Okay. Henry Carbonaro: okay so uh we have uh six points. We we talked about before. Thomas Goodin: Okay. Henry Carbonaro: So want to have a product fancy look and feel, technologically innovative, easy to use, fashion, easy to find in a room, and robust, Thomas Goodin: Yeah. George Driever: Mm-hmm. Henry Carbonaro: uh and uh uh I have a scale of uh seven points. Thomas Goodin: Yeah. Henry Carbonaro: Okay. So I go through all the uh all the points here, Thomas Goodin: Yeah. Henry Carbonaro: 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? Thomas Goodin: Okay. Henry Carbonaro: And after we ha we have an an average, and uh we see. George Driever: Mm-hmm. Thomas Goodin: Okay. Henry Carbonaro: The okay? Uh so uh fancy look and feel, what do Thomas Goodin: Okay. Henry Carbonaro: you think? Thomas Goodin: Maybe you can Henry Carbonaro: F between Thomas Goodin: presen Henry Carbonaro: o one and seven. Thomas Goodin: okay. Maybe hold it. So I think it's uh very uh very nice. Robert Berger: I Thomas Goodin: What Robert Berger: give Thomas Goodin: do Robert Berger: it Thomas Goodin: you think? Robert Berger: a I give it a five. Thomas Goodin: Yeah. So it's between one and seven? Henry Carbonaro: Yeah. Thomas Goodin: Seven is the highest uh? Henry Carbonaro: Seven Thomas Goodin: I will Henry Carbonaro: is the Thomas Goodin: give a six. George Driever: I will give a a five. Henry Carbonaro: Mm-hmm. Robert Berger: And Henry Carbonaro: sorry. Robert Berger: you? Do you vote uh Christine? Henry Carbonaro: eh? Robert Berger: Do you also vote? Henry Carbonaro: No, I just want to see something Thomas Goodin: Maybe we all have to agree on a common Robert Berger: Well, we can very easily. Thomas Goodin: Yeah. Henry Carbonaro: Mm-hmm. Uh I think uh and need to as well. Thomas Goodin: No problem. Henry Carbonaro: Need to Thomas Goodin: So Henry Carbonaro: uh I Thomas Goodin: this Henry Carbonaro: don't know if Thomas Goodin: is Henry Carbonaro: you Thomas Goodin: your Henry Carbonaro: we ha we have to put uh one uh f If it's better or Thomas Goodin: One Robert Berger: I Thomas Goodin: is most. Henry Carbonaro: Uh-uh. Um. Thomas Goodin: Well, we can choose what we want. Henry Carbonaro: Yeah. Thomas Goodin: Okay, Henry Carbonaro: Or maybe Thomas Goodin: let's Henry Carbonaro: we Thomas Goodin: say Henry Carbonaro: can Thomas Goodin: that Henry Carbonaro: say Thomas Goodin: seven is the best. Henry Carbonaro: s seven is the best Thomas Goodin: Okay. Henry Carbonaro: mm. Thomas Goodin: So so do note the grade we have five, six for Henry Carbonaro, George Driever: Five. Thomas Goodin: five. And Henry Carbonaro: Oh sorry. Thomas Goodin: what what's your choice? Henry Carbonaro: Six Thomas Goodin: How much would you give on the fancy aspect, on Henry Carbonaro: Uh Thomas Goodin: the fashionable aspect? Henry Carbonaro: s you can how much what? Thomas Goodin: How much would you you don't answer to this uh Henry Carbonaro: Oh yes Thomas Goodin: questionnaire? Henry Carbonaro: I mm I dunno mm, I think six, it's a good uh Robert Berger: So it will have five point five average. Thomas Goodin: Five point five average. Henry Carbonaro: Yeah. Wa Thomas Goodin: Okay. Robert Berger: Mm. Henry Carbonaro: can. Okay. Thomas Goodin: Well, does it Henry Carbonaro: I sorry. Okay. So after, the technological aspect? Thomas Goodin: Okay, techne technological aspect. Henry Carbonaro: So we we said uh we have uh a new technological uh thing with a wheel. Thomas Goodin: Yeah, we have the wheel. Henry Carbonaro: Uh. Thomas Goodin: We also have the rubber material, which make it uh like new also. I think I would give a five. Robert Berger: It's four. Thomas Goodin: Four? George Driever: A four also, Robert Berger: Yeah. George Driever: because, except for the wheel, we don't have so much innovation. The rubber is Thomas Goodin: Okay. Robert Berger: D are we including George Driever: Uh a four. Robert Berger: the George Driever: I Robert Berger: voice George Driever: I Robert Berger: are you glu we including the voice in the end or Thomas Goodin: No. Robert Berger: not? Huh? No. Okay. Thomas Goodin: So Henry Carbonaro: No. Thomas Goodin: what's your uh grade? Henry Carbonaro: Four. Thomas Goodin: Four? So we have four, four f and five? Henry Carbonaro: We can put four? Robert Berger: Yeah. For Thomas Goodin: Yeah, Robert Berger: twenty Thomas Goodin: four. Henry Carbonaro: Everyone Robert Berger: five. Henry Carbonaro: is okay or Thomas Goodin: Four, Henry Carbonaro: four poin Thomas Goodin: yeah, let's put four. Henry Carbonaro: Four. Robert Berger: Yeah. Henry Carbonaro: Okay. Thomas Goodin: Doesn't it Henry Carbonaro: Very easy to use. Do you think it's easy to use? George Driever: Yeah. Thomas Goodin: Yeah, I think Robert Berger: I give a Thomas Goodin: so. Robert Berger: seven, I think. Thomas Goodin: Yeah. George Driever: Six. Thomas Goodin: I would give a I would give a seven as well. It's very easy to use. Henry Carbonaro: Mm, George Driever: Six. Henry Carbonaro: six for Henry Carbonaro also. Thomas Goodin: So Henry Carbonaro: Six Robert Berger: 'Kay. Henry Carbonaro: point five. Thomas Goodin: six point George Driever: Six Thomas Goodin: five. George Driever: six six point five. Henry Carbonaro: Okay. Thomas Goodin: Okay. Henry Carbonaro: Is it fashion? Thomas Goodin: Oh yeah, its its f its fruit Henry Carbonaro: Seven? Thomas Goodin: fruit shape. I would say seven. And is very Henry Carbonaro: Yeah Thomas Goodin: very Henry Carbonaro: it's Thomas Goodin: nice Henry Carbonaro: fashion, Thomas Goodin: design. Henry Carbonaro: because it's a fruit, and Robert Berger: Yeah, Henry Carbonaro: we say Robert Berger: we can we Henry Carbonaro: that Robert Berger: can put Henry Carbonaro: the Robert Berger: a seven here. Yeah. George Driever: Yeah, Henry Carbonaro: yeah, seven. George Driever: seven. Thomas Goodin: Yeah. Robert Berger: Yeah. Thomas Goodin: Seven, okay. Robert Berger: Well, we hope. George Driever: Easy Henry Carbonaro: Uh George Driever: to find. Henry Carbonaro: easy to find in a room? George Driever: I lost my banana. Thomas Goodin: I think you can't miss it. Robert Berger: Yeah. Henry Carbonaro: Yeah? Thomas Goodin: Okay. George Driever: Uh. Robert Berger: Yeah, I think it's cool. I think we can put a six here. Henry Carbonaro: We have the lightning, or Thomas Goodin: Yeah, Henry Carbonaro: The lighting. Thomas Goodin: we have the we don't sesh especially Robert Berger: So you'll Thomas Goodin: have Robert Berger: make Thomas Goodin: the Robert Berger: the Thomas Goodin: lightning Robert Berger: material Thomas Goodin: but Robert Berger: transparent so that it uh lights up completely, or Thomas Goodin: So it's yellow. It's okay. I think Henry Carbonaro: Yeah. Thomas Goodin: it's very easy to Henry Carbonaro: Seven? Thomas Goodin: I would say seven. It's hard to George Driever: Six. Thomas Goodin: miss it. George Driever: Yeah, Robert Berger: Yeah. Henry Carbonaro: Is it George Driever: okay. Henry Carbonaro: is it robust? Thomas Goodin: Yeah, it's George Driever: Uh f Thomas Goodin: rubber, George Driever: yeah, Thomas Goodin: made of rubber, I think it's m it's uh more rubber than uh George Driever: Yeah. Thomas Goodin: other remote Robert Berger: Yeah Thomas Goodin: control. Robert Berger: the only problem there might be which know, i if it's very sensitive, Thomas Goodin: Yeah. Robert Berger: they will, George Driever: Yeah. Robert Berger: I don't know Thomas Goodin: But it is uh it is surrounded by rubber material. Robert Berger: Yeah, George Driever: Yeah. Robert Berger: okay. Thomas Goodin: So maybe we can put a six. George Driever: Yeah. Robert Berger: Mm. George Driever: Six Henry Carbonaro: Everybody is George Driever: or five. Henry Carbonaro: okay, six. George Driever: Five. Thomas Goodin: Six Robert Berger: Six, Thomas Goodin: is okay? Robert Berger: yeah, for George Driever: Six. Henry Carbonaro: Yeah. Robert Berger: Henry Carbonaro. Henry Carbonaro: Okay. Thomas Goodin: Yeah. Robert Berger: Yeah. Henry Carbonaro: S now Thomas Goodin: Tadada. Henry Carbonaro: um so. Thomas Goodin: We have to Robert Berger: Twenty. Thomas Goodin: sum up Henry Carbonaro: Thirteen Thomas Goodin: everything. Henry Carbonaro: uh, twenty, twenty six point five, uh seven, Robert Berger: Thirty. Henry Carbonaro: thirty two, thirty Robert Berger: Thir Henry Carbonaro: six. That's that's okay? Six. Robert Berger: Okay. Thomas Goodin: Six is a Henry Carbonaro: Good. Thomas Goodin: good Henry Carbonaro: Uh if we say that seven it's uh Robert Berger: Yeah, Thomas Goodin: Yeah, Henry Carbonaro: it's Robert Berger: the Thomas Goodin: the Henry Carbonaro: the Thomas Goodin: be. Robert Berger: top Henry Carbonaro: better, and when uh s Thomas Goodin: Okay, Robert Berger: Mm. Thomas Goodin: so Henry Carbonaro: six Thomas Goodin: six Henry Carbonaro: sit Thomas Goodin: is Henry Carbonaro: six Thomas Goodin: a Henry Carbonaro: are good it's a good uh p product, Robert Berger: So will Henry Carbonaro: I think. Robert Berger: become eight soon? Thomas Goodin: So it's a good evaluation, I think. It's very promising. Robert Berger: Yeah, well it's a bit biased. Henry Carbonaro: We have a good Thomas Goodin: Huh. Henry Carbonaro: price and uh. George Driever: Yeah. Robert Berger: Okay. Henry Carbonaro: Good. Thomas Goodin: So this prototype is quite nice. Robert Berger: Because I saw uh some phones that were banana shaped, Thomas Goodin: Yeah. Robert Berger: uh wireless phones not mobile ones, wireless Thomas Goodin: Okay. Robert Berger: 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. George Driever: Mm-hmm. Thomas Goodin: So having this at twenty five Euros is uh quite attractive, I think. Robert Berger: Yeah. Thomas Goodin: I think George Driever: But Thomas Goodin: the George Driever: almo also the complexity between a phone and a remote control is not Robert Berger: Yeah. George Driever: cannot compare. Robert Berger: Yeah, Thomas Goodin: Yeah. Robert Berger: it's much more complex, but Thomas Goodin: 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. George Driever: Start Thomas Goodin: I George Driever: to Thomas Goodin: don't know if George Driever: eat banana. Thomas Goodin: it's provided by uh by the meeting staff. Henry Carbonaro: Mm-hmm. Robert Berger: Okay. Thomas Goodin: Okay so congratulation. George Driever: Yeah. Robert Berger: Congratulations Thomas Goodin: Nice product. Robert Berger: to the team. Uh very well, we worked together fantastically. Thomas Goodin: Yeah. I think it was a good collaboration uh. Aspect. Robert Berger: So what does the management say? Thomas Goodin: Sorry? Robert Berger: What does the management say? Thomas Goodin: I think we will have um much bigger project next time and a much bigger salary as well. Robert Berger: Ah. Thomas Goodin: All it depends on who watch this meeting. George Driever: Yeah. Thomas Goodin: We don't know. Robert Berger: Yeah. Okay. Thomas Goodin: good guys, George Driever: Okay. Thomas Goodin: so see you for next uh successful project. George Driever: Yeah. Fruits. Henry Carbonaro: Mm 'kay. Robert Berger: Mm.

Thomas Goodin presented the final cost of the remote with the finalized list of components. The final cost was under the alotted budget; Thomas Goodin announced that the project could then continue with the current prototype. Henry Carbonaro 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. Thomas Goodin summarized the accomplishments of the meeting.

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Peter Riggs: 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 John Helwig 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? Andre Ingram: Yep. John Helwig: Yeah. Peter Riggs: So does anyone have any overall John Helwig: Well uh what comes up for John Helwig that if we're gonna if we're gonna be marketing a product that Peter Riggs: Mm. John Helwig: is going to be uh having no teletext, people Peter Riggs: Mm. John Helwig: are very comfortable with the idea of having teletext and using teletext, Peter Riggs: Yep. John Helwig: 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 Peter Riggs: Mm. John Helwig: 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 Peter Riggs: Well tha John Helwig: than Peter Riggs: 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 John Helwig: Right. Peter Riggs: that's presented, I John Helwig: Yeah. Peter Riggs: guess. John Helwig: No, I I agree with you. So what Peter Riggs: Okay. John Helwig: 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 Peter Riggs: Okay. John Helwig: that's that's that was my reactions. Peter Riggs: Yeah. but but we are sort of being dictated that this should only be John Helwig: Yeah yeah. Peter Riggs: for the television. So we're quite fixed. John Helwig: Yep. Peter Riggs: 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. John Helwig: Okay. Salvador Lebrun: Yeah Peter Riggs: Yeah. Salvador Lebrun: bu but we we're remote, we not design the T_V_. Peter Riggs: Hmm. Salvador Lebrun: So uh we're gonna be removing the teletext out of any T_V_ John Helwig: Yeah. Salvador Lebrun: that we John Helwig: 'Kay. Salvador Lebrun: people use our remote with. John Helwig: That's right. Peter Riggs: Hmm. John Helwig: I think Salvador Lebrun: So John Helwig: we Salvador Lebrun: it's John Helwig: take with you. Salvador Lebrun: kind of a stupid Peter Riggs: But Salvador Lebrun: decision. Peter Riggs: there's also Andre Ingram: Right. Peter Riggs: 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. John Helwig: 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. Peter Riggs: Mm. John Helwig: Okay. 'Cause we're talking about eighty percent or ninety percent or ninety-five percent of the televisions out there are are teletext. Peter Riggs: K yeah. John Helwig: 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 Peter Riggs: Mm John Helwig: d Peter Riggs: 'kay. John Helwig: in my opinion we have to double up. If we lose one we need to bring two or Peter Riggs: Okay. John Helwig: three. Peter Riggs: Okay I think that the last point is probably quite uh straightforward. Obviously the the w it has to be branded. Salvador Lebrun: So then the Peter Riggs: 'Kay. Salvador Lebrun: double R_ will be our our Peter Riggs: On the product yeah. Andre Ingram: I think Peter Riggs: Can Andre Ingram: one Salvador Lebrun: I tho Peter Riggs: you handle Salvador Lebrun: I Andre Ingram: of Salvador Lebrun: tho I thou Peter Riggs: that black and yellow? Salvador Lebrun: I think Rol Ro Rolls-Royce might mind, but don't worry. Andre Ingram: 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 Peter Riggs: Mm. Andre Ingram: know we don't wanna a big clunker. We want something that looks nice and it's fashionable and so John Helwig: So you have this? Peter Riggs: 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 Salvador Lebrun: Yes. Andre Ingram: That's fine. Peter Riggs: Okay. Andre Ingram: Okay so Peter Riggs: Mm it's enough. But uh click it on off? Andre Ingram: so you all know John Helwig, I'm Salvador Lebrun. 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. John Helwig: Now is would this be considered just a standard uh um Andre Ingram: I think any John Helwig: This Andre Ingram: des John Helwig: is not this is not cutting edge technology we're talking here. We're talking Andre Ingram: No. John Helwig: about existing technology. Andre Ingram: Right I think John Helwig: Nothing is being modified or upgraded or Andre Ingram: Yeah this is John Helwig: new discoveries. Andre Ingram: 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 John Helwig: Okay. Andre Ingram: chip. John Helwig: Okay. Peter Riggs: Do Andre Ingram: But Peter Riggs: we have an idea of costs of different components? Andre Ingram: 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 Peter Riggs: 'Kay. Andre Ingram: 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 Peter Riggs: Mm 'kay. Andre Ingram: depending on the n amount of memory we need in there and stuff like that and h and h you know how Peter Riggs: Do we Andre Ingram: much Peter Riggs: have any Andre Ingram: power. Peter Riggs: ballpark figures for that yet? No. Andre Ingram: Uh I don't have any figures right now. Peter Riggs: 'Kay. Andre Ingram: We uh we have to wait until we get to a more specific design phase for that. Peter Riggs: Yeah. John Helwig: N okay. Andre Ingram: 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 John Helwig: Mm. Andre Ingram: like that, John Helwig: Mm the Andre Ingram: I John Helwig: shell? Andre Ingram: think. Yeah. Basically yeah. John Helwig: Okay. Peter Riggs: Okay. Andre Ingram: So yeah. That's all I have really. Peter Riggs: Okay. Thanks. And we have participant three, which I believe is Pedro. Salvador Lebrun: I Peter Riggs: I can give you that to Salvador Lebrun: Hey Peter Riggs: click Salvador Lebrun: mouse. Peter Riggs: on. Salvador Lebrun: Open. Peter Riggs: And you wanna get View a slide show, that's what you wanna do, yeah? Just go up to view. Salvador Lebrun: Uh. Andre Ingram: Click, don't Yeah. Peter Riggs: Mm 'kay Salvador Lebrun: This doesn't work. So yeah function design. Um you guys know John Helwig, 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 Peter Riggs: But Salvador Lebrun: the Peter Riggs: 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. Andre Ingram: Mm-hmm. Peter Riggs: 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? Andre Ingram: Right Peter Riggs: So Andre Ingram: as Salvador Lebrun: Yeah. Andre Ingram: far Peter Riggs: it Andre Ingram: as Peter Riggs: should Andre Ingram: i Peter Riggs: be in there. Andre Ingram: it's just uh the cost of an extra button. I mean software-wise Peter Riggs: Yeah. Andre Ingram: there's really no difference. Peter Riggs: Okay. Andre Ingram: I think. Peter Riggs: Isn't John Helwig: 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. Peter Riggs: 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 Salvador Lebrun: Yeah Peter Riggs: we can Salvador Lebrun: the they're Peter Riggs: do. Salvador Lebrun: 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 Andre Ingram: Scheduling. Salvador Lebrun: uh the scheduling and the next programme and stuff like Andre Ingram: Um Salvador Lebrun: that Andre Ingram: to find Salvador Lebrun: and now Andre Ingram: out what what you're watching even if there's commercials you know. Salvador Lebrun: Yeah John Helwig: Okay. Salvador Lebrun: and now you can c look it over Internet. But I still think teletext is Andre Ingram: I Salvador Lebrun: way Andre Ingram: think Salvador Lebrun: more convenient Andre Ingram: I Salvador Lebrun: until Andre Ingram: ha Salvador Lebrun: until we have the same commodities. John Helwig: Yeah 'cause, yeah, Andre Ingram: I John Helwig: I Andre Ingram: agree. John Helwig: just I don't see the cross-over between computers and television. I mean I do see the cross-over in some sense, but Salvador Lebrun: Yeah, but it's not happen yet. Andre Ingram: Well for John Helwig: but Andre Ingram: John Helwig Salvador Lebrun: Yeah. John Helwig: but Peter Riggs: Well John Helwig: but Peter Riggs: you have John Helwig: with Peter Riggs: digital John Helwig: the the Peter Riggs: T_V_ John Helwig: remote Peter Riggs: still John Helwig: is is Peter Riggs: already. John Helwig: used for television, okay. So Andre Ingram: Yeah. John Helwig: so if we make the cross-over and we're gonna view television on computers Andre Ingram: Unless you John Helwig: then Andre Ingram: have John Helwig: we're Andre Ingram: a John Helwig: then we're losing the the necessity of the remote. Andre Ingram: Yeah. Peter Riggs: Well there John Helwig: S Peter Riggs: 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 Andre Ingram: Mm-hmm. Peter Riggs: 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, John Helwig: Okay. Peter Riggs: but you still use it through a teletext. So John Helwig: Okay. Peter Riggs: now the things to think here are that that there's gonna be more functionality, Salvador Lebrun: Yeah but Peter Riggs: potentially Salvador Lebrun: we we don't we're not Peter Riggs: that Salvador Lebrun: aiming Peter Riggs: we can handle. Salvador Lebrun: a command for that. That's the thing. And all of those require the other commands with more complexity and more software Andre Ingram: I Salvador Lebrun: and Andre Ingram: think a lot of that's proprietary anyways. You're not gonna be able Peter Riggs: Mm. Andre Ingram: to, you, like command a TiVo with our remote. I don't think. Peter Riggs: 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. Salvador Lebrun: Yeah but we would increase the price to try to make Peter Riggs: Mm. Salvador Lebrun: it a trainable one, so Peter Riggs: Okay. Salvador Lebrun: Well I dunno. One way the other teletext was there but I guess we can remove it or, you know, make two separate Andre Ingram: I think Salvador Lebrun: interface Andre Ingram: if it's possible Salvador Lebrun: designs. Andre Ingram: you should try to you know have a talk with management about that. Just you know John Helwig: Yeah I Salvador Lebrun: Yeah. John Helwig: don't I don't see the logic. I Salvador Lebrun: Yeah. John Helwig: I don't see the logic in elimination of teletext, I just I I Peter Riggs: Yeah, and neither John Helwig: but I'm Peter Riggs: do I John Helwig: not a tech-mind Peter Riggs: in fact. John Helwig: either. I just don't see the cross-over between computers and and and Peter Riggs: Bu John Helwig: 'Cause Peter Riggs: uh. John Helwig: we are designing something for a television, okay. Peter Riggs: 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 Salvador Lebrun: Yeah. Peter Riggs: i if Andre Ingram: Right Peter Riggs: it Andre Ingram: it's Peter Riggs: doesn't Andre Ingram: just not Peter Riggs: affect the price. John Helwig: We are selling Andre Ingram: Yeah. Salvador Lebrun: Yeah. John Helwig: it to an existing market. Peter Riggs: future-proof our system for future systems that have something else other than teletext maybe. Salvador Lebrun: Yeah Peter Riggs: I Salvador Lebrun: but Peter Riggs: dunno Salvador Lebrun: we're not Peter Riggs: I'm Salvador Lebrun: putting John Helwig: That's Salvador Lebrun: some there's no no putting anything in in the place of teletext. John Helwig: Yeah, and Peter Riggs: Mm John Helwig: and, Peter Riggs: 'kay. John Helwig: yeah, Salvador Lebrun: That's the John Helwig: and Salvador Lebrun: problem. John Helwig: and we're also marketing a product. It's what I'm seeing is a is a mid-range cost product. So so Peter Riggs: Mm. John Helwig: w we can't go and pump a whole bunch of technology Peter Riggs: Yeah. John Helwig: 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? Peter Riggs: 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? Salvador Lebrun: Yeah. John Helwig: I don't I don't see it, and to John Helwig 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 Peter Riggs: Mm-hmm. John Helwig: 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 Peter Riggs: But John Helwig: don't Peter Riggs: i if John Helwig: think Peter Riggs: design John Helwig: we have that Peter Riggs: if John Helwig: flexibility. Peter Riggs: 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, John Helwig: No I Peter Riggs: huh? John Helwig: no I I understand Peter Riggs: Mm. John Helwig: what you say, but what I'm what I'm, okay we probably need to move along, Peter Riggs: Yeah John Helwig: but Peter Riggs: we probably John Helwig: my Peter Riggs: should. John Helwig: my concern Peter Riggs: We we're doing John Helwig: is trying Peter Riggs: alright for John Helwig: to find Peter Riggs: time. John Helwig: 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? Peter Riggs: Yeah. John Helwig: So that's just my question, but we can keep talking. Peter Riggs: Okay. Sorry that kinda cut into you there. Salvador Lebrun: 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 Andre Ingram: Right. Salvador Lebrun: and small Andre Ingram: I'm Salvador Lebrun: um Andre Ingram: 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, Peter Riggs: Mm. Andre Ingram: something like that. I think that's gonna be where you're gonna find the biggest, you know, market share. Peter Riggs: So we are looking for something that looks good and just works, rather than looking for any special features. Is that Andre Ingram: I think Salvador Lebrun: Yeah. Andre Ingram: the more bells and whistles we add, it's just gonna cut into our into our profits. Andre Ingram: Maybe Salvador Lebrun: Yeah mm. Peter Riggs: Mm. Andre Ingram: five percent, Peter Riggs: But Andre Ingram: you know, Peter Riggs: we can talk a Andre Ingram: and Peter Riggs: little Andre Ingram: how much Peter Riggs: bit more potentially in the marketing marketing Andre Ingram: Right. Peter Riggs: presentation about this. Andre Ingram: Yeah okay. Peter Riggs: Be Andre Ingram: I'm Peter Riggs: a Andre Ingram: sorry. Peter Riggs: good idea. Uh sorry, I didn't mean to cut John Helwig: Yeah. Andre Ingram: Sorry boss. Peter Riggs: in. I'm not the boss. Okay. John Helwig: 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, Peter Riggs: I think John Helwig: but Peter Riggs: that's probably a question more for John Helwig: Is that for over Peter Riggs: for John Helwig: here? Peter Riggs: this Andre Ingram: Yeah. Peter Riggs: guy here, yeah. John Helwig: Okay, alright. Andre Ingram: Well it's kinda both of us. Us Peter Riggs: Is Andre Ingram: us Peter Riggs: it? Andre Ingram: user John Helwig: That's Andre Ingram: interface. Peter Riggs: Okay. John Helwig: 'Cause uh Salvador Lebrun: Mm-hmm. John Helwig: and I think of voice-activated So some way Andre Ingram: Mm-hmm. John Helwig: that I can I can find my remote by Andre Ingram: I was thinking about John Helwig: clapping Andre Ingram: that. John Helwig: my hands or something Andre Ingram: Then your lights Peter Riggs: Mm. Andre Ingram: would go off, John Helwig: uh Andre Ingram: though. John Helwig: 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 John Helwig we have to Andre Ingram: Yeah. John Helwig: 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 Peter Riggs: Hmm. John Helwig: without without some really sort of something really special to identify it as as unique in the market. Salvador Lebrun: But we th that should be design. John Helwig: Yeah. Salvador Lebrun: That should be the design basically. Andre Ingram: Right. Salvador Lebrun: 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 John Helwig: Okay. Salvador Lebrun: we should we should aim John Helwig: Have to Salvador Lebrun: at John Helwig: do Salvador Lebrun: design. John Helwig: you have to do it in the box? Salvador Lebrun: Yeah. John Helwig: Okay well, Salvador Lebrun: Yeah. John Helwig: so so that's up to you then to to make this box in something that's absolutely extraordinary. Peter Riggs: Okay. John Helwig: Maybe make it in the form of a gun. We can sell it in United States. Peter Riggs: 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 Andre Ingram: I don't Peter Riggs: it work or the cost of that or Andre Ingram: I think all these things are pretty standard. I think we'll be okay. Peter Riggs: Okay. 'Kay. Cheers. Onto participant four. John Helwig: Well you know for marketing f marketing for John Helwig is uh and uh how do I go here? Okay. Andre Ingram: Mm you can just click. John Helwig: Go go. Is Andre Ingram: No John Helwig: that Andre Ingram: no John Helwig: right? Andre Ingram: no you just get off that. You just click anywhere. John Helwig: Ah-ha. Yeah, what for John Helwig 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 Salvador Lebrun: Mm-hmm. John Helwig: 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. Peter Riggs: Mm-hmm. John Helwig: 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. Salvador Lebrun: Mm-hmm. John Helwig: 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 John Helwig 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. Salvador Lebrun: Mm-hmm. John Helwig: 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 Andre Ingram: I have an John Helwig: Mm Andre Ingram: idea. John Helwig: p please. Andre Ingram: 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 Peter Riggs: Mm. Andre Ingram: issue. Um what we can do is, well you know that batteries throwing a aw remotes run through batteries like crazy. Peter Riggs: Yeah. Andre Ingram: Right? And John Helwig: Solar. Andre Ingram: s for some people Yeah. Well maybe not a solar remote John Helwig: But solar Andre Ingram: 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. John Helwig: Blah, I like it. I like the idea, but we're talking about in cost is gonna probably double. Andre Ingram: It w it would increase the cost. John Helwig: 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. Andre Ingram: And you could page the remote if you lose it. Maybe there's a button on the cradle. John Helwig: Yep, that's right. I really see Peter Riggs: Now the John Helwig: But the Peter Riggs: the question John Helwig: cost Peter Riggs: is John Helwig: i Peter Riggs: can we make this for less than twelve-fifty per? John Helwig: No no. No no, we have t we have to change the end cost. There's uh Peter Riggs: We John Helwig: I mean Peter Riggs: we John Helwig: I don't Peter Riggs: well do John Helwig: see Peter Riggs: we John Helwig: it Peter Riggs: necessarily John Helwig: anyway. Peter Riggs: 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? John Helwig: Yeah, that's gonna be up to these guys. I Andre Ingram: Well John Helwig: my reaction is Andre Ingram: what John Helwig: no, but Andre Ingram: 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 Peter Riggs: Mm-hmm. Andre Ingram: and you can look into what kind of effect an increased cost is gonna have on our on our final numbers. Peter Riggs: Yeah we we can certainly push for a more expensive product John Helwig: Well, see Peter Riggs: if John Helwig: I Peter Riggs: that's John Helwig: I Peter Riggs: gonna John Helwig: see Peter Riggs: be John Helwig: 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. Andre Ingram: I I John Helwig: 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. Andre Ingram: Yeah. John Helwig: I just don't have enough money right now. Andre Ingram: 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 Peter Riggs: Nah, I think we can say with certainty now that we are supporting teletext. Andre Ingram: But I do think there are some basic features that we don't have that a lot of other remotes are going to have. John Helwig: Yep, one one thing I don't understand is h they've they've given us this package, okay. Peter Riggs: Mm-hmm. John Helwig: 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, Andre Ingram: Mm-hmm. John Helwig: and Peter Riggs: Mm-hmm. John Helwig: 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 John Helwig it's like, okay, you have got your here's our ideas, okay. Peter Riggs: Mm. John Helwig: 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 John Helwig 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 Peter Riggs: Mm. John Helwig: right now. I don't Andre Ingram: I don John Helwig: see it. Andre Ingram: 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 Peter Riggs: And Andre Ingram: it Peter Riggs: 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 Andre Ingram: Right. Peter Riggs: selling on its own. It's not going to be specifically John Helwig: Right. Peter Riggs: for Hitachi Andre Ingram: Right. Peter Riggs: T_V_s or or John Helwig: No I Peter Riggs: whatever. John Helwig: understand that. Peter Riggs: 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 Andre Ingram: Mm-hmm. Peter Riggs: saying that it works with all T_V_s is equivalent to saying that it'll work with D_V_D_s John Helwig: Nope, Peter Riggs: and John Helwig: they've identified Peter Riggs: other things. John Helwig: the product as not working for anything but televisions. Salvador Lebrun: Yeah John Helwig: They've Salvador Lebrun: y Peter Riggs: Oh okay John Helwig: identified Salvador Lebrun: y Peter Riggs: okay. Salvador Lebrun: you Peter Riggs: We Salvador Lebrun: you John Helwig: this Peter Riggs: have Salvador Lebrun: wouldn't John Helwig: product Peter Riggs: done this. John Helwig: limita That's why I say I Salvador Lebrun: The John Helwig: don't Salvador Lebrun: interface John Helwig: I Salvador Lebrun: will John Helwig: don't Salvador Lebrun: be different. John Helwig: see the market niche for this. If Peter Riggs: I see. John Helwig: 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 Peter Riggs: Mm-hmm. John Helwig: I can see the market niche, but we we're only identified as going for televisions without teletext. And it's Andre Ingram: Right. John Helwig: like whoa we ha in my opinion we have to go with something that's extremely exclusive Andre Ingram: Well here's John Helwig: to make this thing marketable, Peter Riggs: And I John Helwig: because Peter Riggs: I'd John Helwig: who wants just Peter Riggs: Mm sorry. John Helwig: a television Andre Ingram: Right. John Helwig: remote? I Andre Ingram: We John Helwig: don't. Andre Ingram: 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 John Helwig: That's right. Andre Ingram: 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. John Helwig: I I I have a tendency to agree with you. I really do. Peter Riggs: So John Helwig: That's Peter Riggs: we John Helwig: why Peter Riggs: really John Helwig: I say Peter Riggs: can't John Helwig: I quest Peter Riggs: chase John Helwig: I q Peter Riggs: that. John Helwig: I question the marketability of the product. I really question Andre Ingram: So I think John Helwig: where Andre Ingram: what we John Helwig: we create the demand. Andre Ingram: So Peter Riggs: We're Andre Ingram: that's Peter Riggs: really Andre Ingram: what Peter Riggs: looking Andre Ingram: I'm saying Peter Riggs: for something basic. The the one thing that that that you said really struck a chord with John Helwig 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 Andre Ingram: Mm-hmm. Peter Riggs: think that's in itself an Andre Ingram: I Peter Riggs: extremely Andre Ingram: think that's big. John Helwig: W okay if Peter Riggs: big John Helwig: you Peter Riggs: thing. John Helwig: 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 Salvador Lebrun: Good John Helwig: uh Salvador Lebrun: design. John Helwig: good design, beautiful, Peter Riggs: We only have a few minutes John Helwig: wa-da-da-da-da-da. Peter Riggs: left. John Helwig: But what I'm saying is right now we're middle market. Peter Riggs: Is twenty-five Euros a mid-market price for a remote? John Helwig: Yeah for Peter Riggs: Okay. Andre Ingram: I think John Helwig: for Andre Ingram: so, John Helwig: multi Andre Ingram: yeah. John Helwig: 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 Peter Riggs: Okay. John Helwig: 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 John Helwig, 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. Peter Riggs: 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. Andre Ingram: Yeah. Peter Riggs: 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 John Helwig: Or my d Peter Riggs: 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. Andre Ingram: What about um the idea that I had with the cradle? How do you feel about that? Or how does Peter Riggs: Well Andre Ingram: everybody Peter Riggs: how does Andre Ingram: feel? Peter Riggs: everybody feel? I John Helwig: I mean I Peter Riggs: I think John Helwig: I well we g we're talking about the other end now. I like it. I like Andre Ingram: No, John Helwig: the Andre Ingram: but John Helwig: idea, Andre Ingram: I that's the John Helwig: but Andre Ingram: thing John Helwig: we have Andre Ingram: I John Helwig: t Andre Ingram: I John Helwig: we Andre Ingram: don't John Helwig: have Andre Ingram: think John Helwig: to find Andre Ingram: it's necessarily John Helwig: out Andre Ingram: the other end. Peter Riggs: 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 Andre Ingram: Mm-hmm. Peter Riggs: it to different I w I don't wanna go over somewhere and put it down. It Andre Ingram: Right. Peter Riggs: 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 Andre Ingram: Well Peter Riggs: it's Andre Ingram: it lasts Peter Riggs: not a like Andre Ingram: it would last for several hours on its own power, but when you're done with it you put it back in the cradle. Peter Riggs: But it it takes away the ease of use of the remote to a Andre Ingram: Yeah Peter Riggs: certain extent. Andre Ingram: well it Peter Riggs: You have to l sort of remember. You Andre Ingram: Mm-hmm. Peter Riggs: have to d shift down the side of the couch to find it and put it back and Andre Ingram: Mm-hmm. Peter Riggs: Yeah. I d John Helwig: Well. Peter Riggs: 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 John Helwig: Mm. Peter Riggs: of that fact. But I I don't know, that's just my opinion. John Helwig: Well, I think again it's it we have a cost issue here. You know if we're gonna go in this direction, to John Helwig we're going to the other side of the cost range. Are we Peter Riggs: Mm. John Helwig: 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 Peter Riggs: 'Kay. John Helwig: see it yet. Peter Riggs: So what do we think maybe we should Pedro, do you have any opinion on it? Salvador Lebrun: Uh we should keep it simple, mm medium-low cost mar um cost area and uh make it look good. John Helwig: 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, Peter Riggs: Really John Helwig: the outside, Peter Riggs: need to wrap John Helwig: the casing. Peter Riggs: up now. John Helwig: 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 Andre Ingram: Well the the problem with that is we may end up with a whole bunch of inventory of a John Helwig: Yep one Andre Ingram: of John Helwig: over Andre Ingram: a poor John Helwig: another. Andre Ingram: design John Helwig: Yeah, okay, Andre Ingram: you know. John Helwig: I hear Andre Ingram: So John Helwig: that. Salvador Lebrun: Yeah, complicated but Andre Ingram: 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, Peter Riggs: Yeah. Andre Ingram: it has to be durable, it has to a and I think it's really important that it doesn't look cheap. I Salvador Lebrun: Yeah. Andre Ingram: think I think we have to make sure people look at it an and feel like it its like a quality remote. Even John Helwig: What ab Andre Ingram: though the cost John Helwig: what ab Andre Ingram: may be low. John Helwig: what about a a remote that's that doesn't maybe look like a remote? Just an idea. Andre Ingram: Mm-hmm. John Helwig: 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. Andre Ingram: Or what if it looks like a pen? John Helwig: Doesn't matter, yeah. Andre Ingram: Yeah. John Helwig: I'm just jus I talking about some Andre Ingram: A pointer? John Helwig: something to make this thing unique. It That's the thing, I'm gonna keep thumping on. Andre Ingram: Yeah. John Helwig: I'll sell whatever Peter Riggs: Mm. John Helwig: you guys design. Andre Ingram: Yeah. John Helwig: 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. Salvador Lebrun: Okay. Andre Ingram: 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 Peter Riggs: Yeah. Andre Ingram: a power cradle. Salvador Lebrun: Okay. Yeah. Andre Ingram: Because I really think i in a certain sense it almost like for John Helwig 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. Peter Riggs: I mean Andre Ingram: A lot John Helwig: No Peter Riggs: there's Andre Ingram: of Peter Riggs: al Andre Ingram: people John Helwig: no. Peter Riggs: 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. Andre Ingram: As a watch? Peter Riggs: Yeah, there Andre Ingram: Mm Peter Riggs: is remote Andre Ingram: 'kay. Peter Riggs: control watches um, but I think they're a sorta eighties thing, so it might not be easy to market in it Salvador Lebrun: Yeah Peter Riggs: uh but the the technologies Salvador Lebrun: they are not simple. Peter Riggs: came along and it might be cheaper to make now. Those things may have been inexpensive for all I know. Andre Ingram: Mm-hmm. John Helwig: 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 Andre Ingram: That's John Helwig: We Andre Ingram: what John Helwig: gotta stop? Andre Ingram: I was saying. John Helwig: Who's lost Peter Riggs: Gotta cut John Helwig: or broken Peter Riggs: up. John Helwig: 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 Andre Ingram: Exactly. John Helwig: need to buy another one? Peter Riggs: Mm. Salvador Lebrun: Yeah. John Helwig: And so with with with this kind of system Andre Ingram: Mm-hmm. John Helwig: or locator or something, to to think about, how have people been been losing or breaking Andre Ingram: Mm-hmm. John Helwig: their remote? How does this happen? Peter Riggs: The Andre Ingram: And Peter Riggs: last Andre Ingram: also Peter Riggs: remote Andre Ingram: presumably Peter Riggs: you'll ever buy. Andre Ingram: they've John Helwig: 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 Peter Riggs: Well John Helwig: buy. Andre Ingram: Exactly. Peter Riggs: if if we're going down that then we can we don't need to go the it it strikes John Helwig that the locator feature might actually be Andre Ingram: Yeah. Peter Riggs: uh quite expensive to make. Whereas actually just putting it in a power cradle might not be too expensive at Andre Ingram: True. Peter Riggs: all because that's just done with mobile Andre Ingram: Right. Peter Riggs: phones you can just n we Andre Ingram: Yeah. Peter Riggs: we have Andre Ingram: The locator'll Peter Riggs: said we have Andre Ingram: definitely Peter Riggs: actually similar Andre Ingram: be more Peter Riggs: products Andre Ingram: expensive. Peter Riggs: that we can take from and potentially cut costs there. Andre Ingram: Mm-hmm. Peter Riggs: 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. John Helwig: uh Peter Riggs: But uh John Helwig: we can make it in the shape of a coffee pot. Peter Riggs: Yeah we have the the power-adaptor products. We sell power-adaptor products. So for example John Helwig: It's Peter Riggs: there's John Helwig: uh just Peter Riggs: nothing John Helwig: it's Peter Riggs: stopping John Helwig: that Peter Riggs: us John Helwig: I think it's telling us to stop Peter Riggs: using John Helwig: our Peter Riggs: that John Helwig: meeting. Peter Riggs: technology. Yeah. John Helwig: 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. Peter Riggs: Yeah I John Helwig: A charging Peter Riggs: think so, John Helwig: system. Peter Riggs: without it being too In fact we can cut costs through using the manufacturing that's already gonna be in place Andre Ingram: Right. Peter Riggs: here. John Helwig: If if we can create this we have probably five or six or seven really strong marketing characteristics. Andre Ingram: Right. I think one Peter Riggs: Okay. Andre Ingram: of the things that we can put right on the box is, never buy another battery. Peter Riggs: Yep. Andre Ingram: You know, something like that. Peter Riggs: 'Kay. Thanks guys. Salvador Lebrun: Yep. John Helwig: No that's not what I want, I want Oh look it here.

Peter Riggs reviewed new requirements for the project with the group and discussed their implementation. Salvador Lebrun 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. Andre Ingram 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. John Helwig discussed his marketing strategy for the project, again stressing the attractiveness of the product design. Salvador Lebrun 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.

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