Dale Herigstad & Schematic: Creative InspirationsIntroduction| 00:06 | Dale Herigstad: The things that
interest me a lot are about innovation and
| | 00:09 | I particularly lead that effort with this company.
| | 00:12 | Brooks Martin: This is a sample
application we use all the time to look at
| | 00:16 | different interaction models.
| | 00:17 | Trevor Kaufman: When we talk about
creating branded experiences, what we are
| | 00:21 | really focused on doing is improving
the interface, if you will, between
| | 00:27 | corporate America and people.
| | 00:30 | David Vegezzi: I think overall we
are really thinking of everything that
| | 00:32 | we are creating is about space.
| | 00:34 | Andrew Solmssen: And we want an
experience that is as exciting to the consumer
| | 00:41 | as our content is going to be.
| | 00:43 | Dale Herigstad: So I think the purity
of no device, no glove, no nothing, is
| | 00:48 | such a beautiful, wonderful idea.
| | 00:50 | Jason Brush: We use space, we use
motion, we use all of the tools that
| | 00:53 | you would except in broadcast
design and apply them to Web design.
| | 00:58 | Dale Herigstad: How do you make
devices simple and intuitive and natural and
| | 01:02 | make design that's great and there is
animation and they live, they are living,
| | 01:06 | breathing kind of dynamic interfaces?
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| Defining Dale| 00:08 | Dale Herigstad: I could still be a
broadcast designer, I could still be in film,
| | 00:10 | and I have done some projects
still in that area. But what fascinates me
| | 00:16 | about interactive work is that there
is this other layer that you are doing.
| | 00:21 | I mean you are moving from linear, where
you are making these grand, beautiful,
| | 00:24 | little mini-stories graphically, which
in television could be 3 seconds longer,
| | 00:28 | or a second long or a 10 seconds, very
short, or commercial work in little bits
| | 00:33 | out of a 30 seconds spot.
| | 00:34 | So they are very short segments of
stories. But they are linear and you spend
| | 00:38 | a lot of time, you build this thing
and edit it and craft it down to the frame,
| | 00:41 | and you get it just right, and you look
at that. It's a completely different world,
| | 00:45 | when you are making that a
nonlinear world and interactive.
| | 00:48 | Those experiences are completely
controlled by the viewer.
| | 00:51 | So how do you set things up in that
sort of animating possibilities so that
| | 00:56 | there is a flow to it that's controlled
by the viewer? That to me is really an
| | 01:03 | interesting challenge. So that's the
part I like about it, that head trip of
| | 01:06 | like getting on white boards and
figuring it out, and doing prototypes,
| | 01:09 | and looking at something, and making
a mistake and trying something else. The Web is
| | 01:13 | such a huge thing and web design,
and web designers and web design shops,
| | 01:18 | that are out there.
| | 01:19 | I come at this not from that place of
the web but I come at it from television.
| | 01:25 | So that gives kind of a different
experience and I have always tried to take
| | 01:29 | a fresh approach to everything.
It's sometimes a simpler approach. Even things
| | 01:37 | like the simplicity that you see on
the iPhone which is a -- if you get web
| | 01:42 | experiences or application
experiences on the iPhone, which have been
| | 01:45 | simplified. They may be richer when
you see them on a two-foot experience on
| | 01:50 | your computer. That process of
simplifying things is an interesting
| | 01:55 | challenge and it's one that's been
throughout my career. How do you make this
| | 02:00 | work in a simple way but
also be really engaging?
| | 02:04 | So it has like-- so it has got all
those roots. To me it's that difference
| | 02:08 | between ultimate simplicity in
interface and very intuitive but also having
| | 02:14 | the rich components that are there.
So, it's fully layered like we see in broadcast.
| | 02:17 | It's probably that layering
and the dynamics of motion.
| | 02:20 | The things that interest me a lot are
about innovation and I particularly lead
| | 02:25 | that effort with this company, which is
about at this time something new comes along,
| | 02:31 | the iPhone comes along or a
new settop box comes along or a new
| | 02:34 | capabilities on a game box or something.
It's just another screen. It's such an
| | 02:39 | interesting process to be handed a new
technology and you just think out of the box
| | 02:46 | about this. You are always thinking
kind of new and fresh and I like to think
| | 02:49 | as we start the design process on
a new thing, is just take stereotypes away.
| | 02:53 | Just sort of say here is
something new. What could this be?
| | 02:57 | So some of the interesting projects
that we are doing now that I really enjoy
| | 03:01 | are the ones that we are working with--
it might be with Comcast, or with Time Warner,
| | 03:05 | or with Sony or Microsoft on some
new platform, some new technology and
| | 03:13 | just imagining what that could be,
really with some rigor, taking our user
| | 03:18 | experience folks and really thinking
about what the function of that is and
| | 03:22 | that's what everything else hangs on and
then going from there into what does that
| | 03:26 | mean design-wise? So putting that
blend of new thinking together to kind of
| | 03:30 | create some of these new platforms.
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| This is Schematic| 00:09 | Dale Herigstad: What's interesting with
Schematic too is to see how really kind of
| | 00:14 | combination of the two anchor things,
which is certainly work in the web and
| | 00:19 | interface design for the web and
then interface design for television.
| | 00:23 | And then how that's moved naturally into
some work. For example that we have done some
| | 00:28 | major work with game companies,
EA Sports. We are not a game company,
| | 00:34 | but I think we have the sort of thinking
out there that's a little bit out of the box,
| | 00:37 | that has direct application and particularly,
television navigation which relates directly
| | 00:43 | to a controller where you are, again,
you are not touching the screen. So seeing
| | 00:47 | how that's advancing and what those
projects are like and those new ways of
| | 00:52 | thinking about devices.
| | 00:54 | Trevor Kaufman: It is very hard for us
traditionally to describe what Schematic does,
| | 00:58 | because people think of agencies
and services businesses like us in
| | 01:03 | particular categories. Most notably
ad agencies, which are about developing
| | 01:10 | campaigns that have some brief life, or
production companies that are just sort
| | 01:16 | of following a brief and executing again
some very specific set of requirements.
| | 01:21 | What Schematic does is different than
both of those things and that's what
| | 01:25 | makes it tough for us to talk about.
When we talk about creating branded
| | 01:28 | experiences, but what we are really
focused on doing is improving the interface,
| | 01:35 | if you will, between corporate America and people.
| | 01:41 | So there are all these touch
points where those two groups intersect.
| | 01:46 | Everything from, of course, digital
things like websites and kiosks and mobile
| | 01:53 | applications and often now interactive
TV-based applications and trying to make
| | 01:59 | that whole process better. And by
better what I mean is we are very,
| | 02:05 | and I don't think people often understand
this about us, we are very utility focused.
| | 02:10 | We are trying to create things that
actually provide value to the customers
| | 02:15 | that experience them, because we think
if we are providing value to customers,
| | 02:19 | if we are improving their experience,
then they are going to want to transact
| | 02:23 | business with our clients.
And that has proven to be true.
| | 02:28 | The way that manifests itself is not
that we make ads that say hey, you should
| | 02:34 | buy a Nokia phone, but we create new
services and interfaces that make owning
| | 02:39 | a Nokia phone better and we provide the
conduits that enable Nokia customers to
| | 02:45 | talk to each other and other people
and to Nokia about their Nokia experience
| | 02:49 | and how negative or positive it is.
The manifestation of it is,
| | 02:54 | a lot of digital work that makes great
interfaces and great experiences on the web,
| | 03:00 | on TV, on mobile devices and in person.
| | 03:03 | Schematic is now big enough so that a
lot of the work that we do-- There is a
| | 03:09 | vanguard of it which is purely about
innovation. But then there is a lot of,
| | 03:14 | I like to believe, very good but less
revolutionary work that we do day-to-day
| | 03:21 | for companies like Dell and Target
to execute against their business.
| | 03:27 | That is a large portion of our business
from a revenue perspective that Dale
| | 03:31 | doesn't even really touch. But Dale
is really critical in the few great,
| | 03:38 | really innovative, really revolutionary
projects that gets Schematic attention,
| | 03:44 | that make people want to come work here
and that still serve, even though they might
| | 03:48 | not be tremendously profitable or
might not have long durations, they serve that--
| | 03:53 | Again, it's that innovation
and that spirit of invention and great
| | 03:58 | creative and great interface that still
drives the -- it's still the heartbeat
| | 04:02 | of Schematic and that very much lives with Dale.
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| Evolving media: Screen distance| 00:08 | Dale Herigstad: The user experience
of television has been for a long time
| | 00:11 | looking at a television piece of
furniture in a home about 10 feet away.
| | 00:16 | That was the old way that you defined
television. It's been completely redefined,
| | 00:21 | of course, recently. If you go to a
media company now, you go to ABC and say,
| | 00:26 | what are you now to your audience? It
really isn't-- there are three big categories,
| | 00:29 | the way they divide it up, in say
broadcast, two foot is on the computer
| | 00:34 | Internet and one foot is mobile.
| | 00:36 | At Schematic we divide up slightly
differently. It's saying that still sort of
| | 00:42 | anchor common experience, a communal
experience around the friends and family,
| | 00:46 | looking at television about 10
feet away with remote control. But then
| | 00:50 | you have a line where you are looking
at either a computer or on a personal device
| | 00:55 | as a personal experience. That's really
one person consuming this rather than multiple.
| | 01:01 | Then a new area for us has been
public media where it's really maybe
| | 01:05 | one person consuming but many people
looking. So it's the opposite of private.
| | 01:11 | It's an open kind of public screen viewing
and the distance is quite variable.
| | 01:15 | You might have one person three feet away,
like this, but you might have people 200
| | 01:19 | feet away with a large screen that
could see that. And there have been
| | 01:23 | experiments, of course, like in Times
Square with your mobile phone, where
| | 01:26 | at a great distance people see huge screen that's
being interacted with a mobile phone or something.
| | 01:30 | So that's quite a bit of variety in
that last one. This is important to us
| | 01:33 | because one of my passions at
Schematic has been into gestural navigation,
| | 01:38 | through work on {italic}Minority Report{/italic},
which is what I call distance gesture. So,
| | 01:42 | this line is a critical one. When you
are in reachable distance to touch the screen,
| | 01:47 | that's what we call touch gesture.
That's the iPhone and it's a pure
| | 01:54 | and beautiful experience. I love my
iPhone. I love surface. I love these things
| | 01:58 | where you can touch the screen and
many kiosks are touchscreen because it's
| | 02:02 | very understandable. Here is the thing.
I touch it and it responds. That's very
| | 02:06 | understandable.
| | 02:07 | A harder assignment is when you can't
touch it. This is the territory that we
| | 02:11 | are exploring a lot within the company.
Now that includes 10-foot navigation,
| | 02:15 | because you can't -- most of the time
you don't get up from your chair and
| | 02:19 | change the channel. You have a remote
control. So we are even moving on here
| | 02:23 | with input things where we can
actually use your hands to gesture with no
| | 02:28 | remote at all or use a
gestural remote to remote.
| | 02:30 | So we are experimenting with those
kinds of things, which are advanced
| | 02:34 | primarily by things like the Wii or all
these things are making it more kind of
| | 02:37 | mainstream, the idea of gesture.
| | 02:39 | I often show this screen as well
because I would point out that in the
| | 02:43 | interactive world a lot of the
production and client base or clients, when they
| | 02:51 | think about making an interactive
product for themselves, this is of course
| | 02:56 | a starting point. It's the web.
It's two feet away and even has a mouse.
| | 03:01 | The important thing to realize that on
this spectrum of all these screens and
| | 03:05 | devices, that's the only one that has a
mouse. So when you think about that and
| | 03:10 | you think about making content that's
going to go across media, it can't be so
| | 03:15 | mouse-centric. It has to open up to
that sort of almost closer to television
| | 03:19 | up/down/left/right navigation, which
is far more consistent with most mobile
| | 03:23 | phones, PSP, game devices, all of these.
| | 03:26 | So this is a big idea and I think one
of the big lessons we have been learning
| | 03:32 | here as we train a lot of people coming
from the web, designers coming from the web,
| | 03:37 | we have to train them into
this other kind of navigation moving to
| | 03:40 | television and to radial navigation. So
that's a big part of the training that
| | 03:46 | we do here.
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| Workspace| 00:07 | Dale Herigstad: So welcome to Schematic.
We are in Los Angeles. I want to take you
| | 00:10 | on a little walk around the studio,
a unique space designed by an architect,
| | 00:15 | well-known architect Eric
Moss here in Culver City.
| | 00:20 | This is sort of the main entrance
to the building, a little bit unique.
| | 00:23 | When you are here, it's from the
elevator or going other directions, you can
| | 00:28 | actually from here pivot and enter to
different parts of the disciplines that
| | 00:33 | are here, the administration,
production and design, straight ahead of you,
| | 00:39 | and also to user experience and
technology, which are other parts of this company.
| | 00:45 | This now is our design and creative
space. As you can see it's a hubbub of
| | 00:51 | activity here. And what we are trying
to do, again, is remember that theme of
| | 00:55 | openness that you will see in the
rest of this building.
| | 01:04 | We have a lot of meeting spaces. The meeting
spaces and all the offices are all fishbowls.
| | 01:11 | We really like the fact that as we are
working, we actually are not hiding anything.
| | 01:17 | It's a very open environment here.
A lot of our surfaces, the wall
| | 01:21 | surfaces are already white-board ready.
So we just draw on walls, we draw on glass,
| | 01:25 | we draw on anything. Well, not anything.
| | 01:27 | The main open area are these kind
of triad of like three workstations together.
| | 01:35 | Look we have a little mini meeting
going on here right now, but again
| | 01:40 | you can see why this is nice. You can
see that the activity is going on and
| | 01:43 | you sense again the activity
because of these glass offices.
| | 01:46 | This is our user experience group.
The interesting thing I think about what
| | 01:49 | we have done at Schematic with user
experience is that we -- even though some
| | 01:53 | of these folks sit on this side over
here and the creative department is in
| | 01:56 | another spot, we work together a lot
and the whole production process is really
| | 02:00 | putting those two disciplines
together as a single effort.
| | 02:04 | This is a good example of what we were
talking about earlier, because Trevor
| | 02:07 | is user experience, user experience team,
and Paul is from our design team.
| | 02:12 | So these guys are collaborating
together on a project.
| | 02:15 | Paul: It's constant back and forth teamwork.
We are constantly checking in with each other,
| | 02:22 | making sure we are on the same page.
| | 02:23 | Dale Herigstad: This collaboration is
really important to getting the work done, right?
| | 02:27 | Paul: All the time.
| | 02:28 | Dale Herigstad: One of the things that's
great about the company is that we really
| | 02:31 | stress that we are human beings here and
we need to have fun and get along with each other.
| | 02:36 | It's another mini-meeting here.
See this is the way things get done.
| | 02:40 | Male Speaker: It's the only way things get done.
| | 02:42 | Dale: You have got two producers, right?
| | 02:44 | Male Speaker: But you see today I have
got my running shoes because I know I am
| | 02:46 | going to go around a lot.
| | 02:47 | Dale Herigstad: That's right. Nobody stays put.
Male Speaker: Exactly, exactly.
| | 02:52 | Dale Herigstad: So now we are going
to step into the technology area.
| | 02:55 | These are the guys that keep us running in here,
keep our iPhones running, keep our Macs running,
| | 03:00 | and our Blackberries. This one
particularly shows what Eric Moss does a lot,
| | 03:08 | which is you have got some remnants
of the old kind of warehouse spaces.
| | 03:12 | So you see these wooden beams that they
are kind of restructured and kind of --
| | 03:18 | fabricated somehow and modernized.
It kind of blends the original with new,
| | 03:23 | which is very nice.
| | 03:28 | This is kind of a hub of production up
here. So our head of production is up here.
| | 03:32 | So people are meeting together to figure out
strategies, new process for the new projects.
| | 03:39 | We're now going to the roof of the building.
So this is sort of the end of the tour
| | 03:45 | of this particular Los Angeles facility.
The origin of the company was really
| | 03:50 | here in Los Angeles in the
heart of the entertainment business.
| | 03:53 | We have other offices, in fact a
number of them, New York, Atlanta.
| | 03:58 | We have offices also in Minneapolis, Austin,
San Francisco, and then I am leading now
| | 04:05 | our newest office, which is in London
which services Europe. So you are seeing
| | 04:10 | kind of the expansion of Schematic
sort of into the rest of the world.
| | 04:15 | It's created some very interesting
challenges in connecting us together.
| | 04:19 | But we are one big family here of creative
technology and user experience in the new digital age.
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| Pursuing innovation| 00:08 | Dale Herigstad: I really believe that
the audience is prepared and moving and
| | 00:12 | moves faster than business does and the
younger audience just picks up whatever
| | 00:16 | is there. It's an iPhone, it's a
mobile device, it's a thing, it's a game box
| | 00:20 | and it's just "give me some stuff, give me
some media." That could be TV or anything,
| | 00:24 | it doesn't matter. There is no
segmenting of that. It just "give me a screen
| | 00:28 | and I will do some stuff with it."
| | 00:30 | Our abilities are kind of to really
address that new audience and address
| | 00:33 | the current audience too, the older
audience that isn't there yet. How do you
| | 00:38 | make devices simple and intuitive and
natural and make design that's great and
| | 00:45 | there is animation and they live, they
are living, breathing kind of dynamic
| | 00:49 | interfaces that are so intuitive?
Because that they sort of -- when you start
| | 00:55 | just dealing with elements that come on
the screen, when you click it, it moves
| | 00:58 | off the screen, it moves in. All those
things help lead the viewer's eye,
| | 01:03 | make it a simpler, a better experience.
It's not necessarily meaning that has to be
| | 01:07 | something kind of wild and crazy.
It's just applying that motion and dynamic as
| | 01:11 | a new component to what we are doing.
| | 01:13 | Trevor Kaufman: We focus a lot on
saying we are going to provide transformative
| | 01:18 | results for you. There are lot of
companies that will say, we can optimize this,
| | 01:22 | we can do 10% or 15% better
than the other guy and what our argument
| | 01:27 | usually is about creating entirely new
lines of business. You have never sold
| | 01:32 | direct through e-commerce before.
We are going to enable you to do that.
| | 01:35 | You are not a content company now and
people don't think of you as a creator of
| | 01:40 | media, of narratives. We are going
to change that brand perception and
| | 01:45 | cause people to engage with you on that level
and maybe even enable you to make money that way.
| | 01:49 | Things that are really transformative,
not again saying we can improve the flow
| | 01:55 | of this or the aspect of this
little bit better, and it's that innovation
| | 02:00 | that lots of companies are looking
for today because they are often stuck and
| | 02:05 | so many of the things about the way
we are doing business are changing and
| | 02:09 | so much about the media business and
the retail business and that form of
| | 02:13 | business. All these things are
changing so dramatically that they know
| | 02:17 | they have to really radically change
the way they do business and so they are
| | 02:19 | looking for companies like Schematic,
and there are few others that I think are
| | 02:25 | that specialize in innovation the way we do,
to transform their business in that way.
| | 02:30 | Andrew Solmssen: Well, I think at Schematic
we have a pretty healthy appetite for risk.
| | 02:33 | We tend to take on a lot of projects
that many people might shy away from
| | 02:39 | because at the outset you don't
always know how they are going to turn out
| | 02:43 | and sometimes that just means trusting
our instincts, trusting our process and
| | 02:48 | trusting the work we have done in the
past to serve as a template for a lot of success.
| | 02:53 | The way that we go about these things
is that we start at first principles and
| | 02:58 | we really do trust our process.
Coming in, we figure out what we want it to be,
| | 03:04 | what audiences it's going to
serve and then we really open it up.
| | 03:09 | Then we brainstorm and sometimes we will
bring in totally random people who aren't
| | 03:13 | at all involved in the project at
Schematic to give their thoughts, maybe
| | 03:17 | they are the right demographic or maybe
we just think that they might add a little
| | 03:20 | something more to mix, to get as much as
we possibly can. So that we don't throw out
| | 03:27 | any idea at the beginning and that
we really have all of the possibilities
| | 03:32 | that we can muster as a company on the table.
| | 03:34 | We need to push our clients to try
to make sure that their content,
| | 03:39 | their services, whatever it is that we're marketing
is reaching people in the best possible way
| | 03:47 | and I think people come
to Schematic in different ways.
| | 03:52 | Some people come because they know
Schematic has a real culture of innovation and
| | 03:56 | they have seen our work and they
know that we have had real success
| | 04:01 | developing differentiated experiences
for other people and assume that we can
| | 04:05 | do the same for them.
| | 04:05 | Others don't see us in that light
when they start working with us and
| | 04:12 | it is really our responsibility to show
them that that's where we are and as a
| | 04:16 | company that's what they are getting.
And there have been companies that have
| | 04:22 | worked with Schematic where we
haven't been a great fit for them.
| | 04:27 | Where they've said, you have to stop coming
up with these new innovative ways of doing things;
| | 04:33 | we just want you to execute on
this thing that we are telling you to do.
| | 04:36 | And honestly, we are pretty straightforward
with those companies and say,
| | 04:39 | that's really not what we do as an organization.
We may not be the right choice for you.
| | 04:44 | Dale Herigstad: Because this
business of digital changes constantly,
| | 04:48 | it's changing so quickly, it's very
important to almost do two designs at once.
| | 04:55 | You are designing the future, you are
designing what we think intelligently based
| | 05:01 | on all of the research we see, in the
sense that what's going on out there.
| | 05:05 | We look at that and we say, okay, let's
design this thing that's few years out,
| | 05:09 | this is five years from now. And you
let that be what sort of steers where
| | 05:15 | you're going, it's the fresh new things
that are in this current project that
| | 05:19 | we will be doing.
| | 05:20 | One of the things that I say is, when you think
like that, as a company in this digital world,
| | 05:25 | then they will thank us later.
Because you are not doing this redesign,
| | 05:30 | a major change redesign and the customer's
getting this brand new, very different thing.
| | 05:34 | Instead it's this evolution
of a product that goes out there.
| | 05:38 | And it also with our clients like at
the cable companies, I mean, I happened to
| | 05:43 | say that the interface is your brand
for them. So the things that are familiar
| | 05:48 | that make that unique, there are certain
things that need to stay and evolve and change.
| | 05:53 | Instead of this complete change
and you are asking some of your clients to,
| | 05:56 | your customers to learn
something new all the time.
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| Evolving media: Interface design| 00:09 | Dale Herigstad: An interface is
simply that you have an audience,
| | 00:13 | you have customers, you have a screen
and the interface sits is between there
| | 00:18 | conceptually and it is what allows
the experience to happen over there.
| | 00:22 | It's the layer in between
the content and other things.
| | 00:25 | So we often say that the interface is
the brand and that's the new territory here.
| | 00:30 | Is that what we are seeing is that
cable companies, if they have a bad interface
| | 00:37 | to find that content, they could
have the best content, the best movies,
| | 00:40 | wonderful high definition movies
and millions of properties to offer
| | 00:46 | to clients. If the interface is
about to get to it, that's the brand.
| | 00:50 | That's who you are right there.
So that's that territory right there.
| | 00:55 | That's where our company plays, in
that space of interface right there.
| | 00:59 | Spatial context is a big topic for
me personally and I think it's because
| | 01:05 | interactivity for me came from the
television. I came from television and
| | 01:12 | my early experiments in interface design
were really for television, which was anchored
| | 01:18 | u/down and left/right. That sort of
directional thing is just fixed into the process
| | 01:23 | and it's also the notion of
space has sort of two aspects. So,
| | 01:32 | one of them is how things appear on the
screen and that this gets into what I call
| | 01:36 | rich media. You are seeing this screen as
a window and you are designing screen spaces,
| | 01:41 | just like as in broadcast design.
| | 01:45 | Broadcast design looks at, when you're in
After Effects or some of these rich layer--
| | 01:49 | it's much a layered experience, there
is layer behind that, a layer behind that
| | 01:53 | and look at Photoshop. There are
many layers there. You take that out and
| | 01:56 | you've got the sense of space you are developing.
So that screen is a window into a space.
| | 02:01 | The other area with navigation about
space and spatial context is that
| | 02:05 | it affects how we navigate. Meaning
that it considers up, down, left, right,
| | 02:10 | where things are, the fact that something
is over here as opposed to over there
| | 02:14 | has big ramifications, particularly in
directional navigation as opposed to,
| | 02:20 | with your mouse you can move anywhere on
the screen, less important, but with
| | 02:25 | these other concepts and particularly
with gestures, it's very important.
| | 02:29 | It's mapping to the screen, there is sort
of real estate mapping, directions have
| | 02:33 | meaning and another kind of
interesting area is that Z space.
| | 02:38 | What is the meaning of that?
| | 02:39 | One of the newer uses of Z space that
we are doing in our current designs is
| | 02:44 | saying that Z space means that
you are up close on something,
| | 02:47 | you are navigating through kind of a close-up
view of something, a long list of things.
| | 02:51 | If I want a context, I just hit a
Context button. I push back, kind of
| | 02:55 | rearrange, do something then push
back in the details. So this context
| | 02:59 | it's like a bird's-eye view. So all of
those things are really helping us understand
| | 03:04 | how consumers look at all of
this media and how you navigate it.
| | 03:10 | I wanted to show this one example
because this goes way back. This is
| | 03:14 | the Full Service Network, which was done
around 1992 or 1993. It's so early but
| | 03:20 | this is what it looked like. It was a
very rich broadcast-looking experience that
| | 03:24 | actually was quite a bit more dimensional
and broadcast looking than many of
| | 03:31 | without pictures even today. So you can
see how forward this thing was. There was SGI,
| | 03:35 | we are working with SGI and
with Time Warner. But I wanted to show
| | 03:40 | that example of that Carousel. It was
a very early example of an attempt to
| | 03:45 | really make that experience of interactive
television, rich, dimensional and engaging.
| | 03:50 | This is a small version now of what is
a 6 x 10 foot interactive touchscreen wall.
| | 03:57 | This is in two airports. It's in
Chicago and at Kennedy Airport in New York.
| | 04:01 | But basically you just touch
things down here, touch something else,
| | 04:05 | we touch that, touch one of these things
and it opens up. So it's really just
| | 04:09 | touching things and having this open
up in a sort of dimensional space.
| | 04:13 | It's a connected space that has a connection
to the broadband internet. So you have
| | 04:18 | access to CNN Pipeline and Weather
Channel and some other kind of television
| | 04:22 | content in this as well.
| | 04:23 | But this experiment, it was done by
Accenture, is essentially an advertisement,
| | 04:30 | an active real engaging experimental
advertisement for Accenture.
| | 04:36 | Basically, if this represents the
person using this large interactive wall,
| | 04:43 | this person probably in most cases is
not the customer who they're targeting for
| | 04:49 | Accenture. But there could be other
people walking by, particularly that
| | 04:54 | one executive over here, is
watching that happen over here.
| | 04:58 | So the experience of this happening,
not just the bits on the screen but
| | 05:01 | somebody interacting with that, is saying
wow, we are Accenture. We do like great
| | 05:05 | technology, look at this experience. So
that experience of what's happening in
| | 05:09 | real time over there is what this
person is seeing. That's the ad, in a sense.
| | 05:15 | So for EA Sports, talking about
those layers of interactively,
| | 05:23 | as a foreground layer of direction, one
of the things that we are doing as we are
| | 05:28 | saying that the directions -- you have
at least the opportunity for four major things.
| | 05:33 | So you can take all the content
you have and say it's all in one of
| | 05:38 | those things, then the viewer just
notice that. An example of that was what
| | 05:42 | we did for the HD DVD system for Universal.
When you press the menu, the screen pushes back
| | 05:49 | and there was simply an
indicator on those four directions.
| | 05:52 | There is a certain kind of stuff over
here and another kind of thing over there
| | 05:55 | and another grouping of that and
that's the entire system. But it breaks into
| | 06:00 | those four things. In the case of the
EA Sports, it does say that there is
| | 06:04 | a lot of stuff in here but we are going
to divide this into to two main areas and
| | 06:09 | you will see this here. So this
was the new boot-up experience.
| | 06:14 | This has been already implemented up there,
this is about two years old or more,
| | 06:17 | this demo I am showing you. So this is
the boot-up for EA Sports for an NBA property.
| | 06:22 | First of all, notice how what
normally would have been title cards,
| | 06:24 | all these things are now in this space
that you're setting. You established a space,
| | 06:28 | an abstract when we are warming up.
We're not in the game yet; we're in the pre-game.
| | 06:31 | All of this stuff coming in,
by the way, is like this is from ESPN Ticker.
| | 06:36 | This is a combination of both
ESPN and EA Sports live feed content
| | 06:43 | coming in there through the broadband
connection. This say would be Xbox Live.
| | 06:48 | So at the end of it, watch what
it does. It establishes itself at
| | 06:53 | the very end of it and you will see it
wrap around and establish the meaning of
| | 06:56 | that and that.
| | 06:57 | So, in the whole system you know that
you can go one of those two directions to
| | 07:02 | get a certain kind of content and
then dig deeper inside of that.
| | 07:05 | In a navigational way, this is the system
we developed. It was standard for their
| | 07:10 | pre-game experiences. We hit left over
here and now we are into different kinds
| | 07:14 | of management of content over here,
going though kind of an interface --
| | 07:19 | levels of the interface there, but if we
just go to the right, we now go to the other side,
| | 07:23 | at this angle, which is different.
It's not EA Sports. This is like live content.
| | 07:29 | Here we are going to snag that
live feed and take it with us is now.
| | 07:33 | But again just by moving left and right--
because foundationally that's the big idea
| | 07:39 | that they are doing here. It used
to be all EA Sports but now it's EA Sports
| | 07:42 | plus this other world coming in
here of television content and over here
| | 07:46 | I have got that and over we have
got that. So that's the big idea.
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| User Experience| 00:09 | Dale Herigstad: That term user experience,
that's what we are really designing
| | 00:12 | is an experience, which means it's
actually a quite broader thing.
| | 00:16 | An example would be when we started looking
at when we designed an enhanced TV application.
| | 00:22 | Here is an hour-long show and
here are some enhancements that works
| | 00:25 | with that. But if you take the timeline
of that show and you say okay, what are
| | 00:29 | the customers doing before,
the day before or the week before?
| | 00:33 | There's promotional opportunities that
steer people to the content, get them ready.
| | 00:37 | When people experience the content in
that show and through maybe a marking
| | 00:41 | system or something, the experience
of that show which is if it's based on
| | 00:46 | cooking tips, and redos, the remakes,
or whatever the show is about, that those
| | 00:52 | things can actually transfer directly
to mobile devices and help people a day
| | 00:58 | later or a week later. So it's
really looking at that continuity of
| | 01:01 | an experience across different media.
So it's a broader view on what is going on.
| | 01:09 | Jason Brush: We design products and
services and experiences that span across
| | 01:14 | many different platforms in order to
facilitate information architecture,
| | 01:18 | right, which is an organization of content;
interaction design, the behavior of interfaces;
| | 01:24 | and usability, right, making sure
that something is sensible and
| | 01:28 | accessible and useful. We've put all of
that under the umbrella of user experience.
| | 01:35 | I often think about my department, my
user experience here is being the advocate
| | 01:40 | for the user, really putting themselves
in the place of the person who is going
| | 01:46 | to be operating in interface and
trying to think about what that person wants
| | 01:51 | out of a product and trying to
consider all the different ways in which
| | 01:56 | something is going to be used.
| | 01:58 | When you talk about the web and you talk
about mobile, well, those increasingly are
| | 02:03 | becoming more stable, consistent
platforms to work against in which
| | 02:10 | we don't have to think about the limitations...
| | 02:16 | we don't have to think about just designing
something just for the web or just for mobile.
| | 02:20 | We can begin to think about,
well how does information flow seamlessly
| | 02:24 | from the web to mobile, to your TV, to
other things? So rather than think about platforms,
| | 02:29 | we often think about systems.
| | 02:35 | We want to create information
systems and design systems that work really
| | 02:39 | fluidly from one platform to another.
That said, there are still limitations
| | 02:45 | with individual platforms. And the most
important limitation to consider is the context, right?
| | 02:52 | So if you are designing something for
mobile, you have to be thinking about
| | 02:57 | mobility, you have to be thinking how
somebody is going to using your interface
| | 03:04 | when they are in a subway car and
holding onto the rail with one hand and
| | 03:09 | then operating with a single hand.
When they are surrounded by other people.
| | 03:14 | Very, very different than thesort of
experiences which you might have from sitting
| | 03:18 | at home on the couch with other people,
right, and watching TV. It's a very
| | 03:23 | social environment, which in turn is
different from sitting all by yourself,
| | 03:28 | at a computer, at a desk, right?
| | 03:31 | So the platforms which we are given,
the technology distinctions between the
| | 03:40 | platforms is getting reduced, right?
However, the context in which people use things
| | 03:46 | definitely is not changing.
Well, it's changing a little bit, but
| | 03:51 | it's not changing as rapidly as
the technology is becoming leveled.
| | 03:58 | One other things that we try to do
is to make sure that whenever we were
| | 04:04 | adding these flourishes, these things
that you might be able to -- that end up
| | 04:09 | being the brand touch points as it were,
that those things have meaning and purpose.
| | 04:15 | And we really want to make sure
that all of these things help people
| | 04:17 | understand where they are or what they
need to do next. We often talked about
| | 04:25 | way finding, right? So how do you know
where you are in an interface and where
| | 04:31 | you were and where you can go next, right?
| | 04:35 | If we can use things which are
visually rich to do that, the richness of that
| | 04:41 | interaction becomes the brand
that we are trying to express.
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| ABC Full Episode Player| 00:08 | Andrew Solmssen: ABC had a really,
at the time, revolutionary idea and
| | 00:15 | it's amazing to think less than three
years later that full episodes of TV shows,
| | 00:19 | ad-supported on the web, would
be as prevalent as it is now.
| | 00:25 | Because it was heresy when it was done.
| | 00:28 | I think now most of us are
disappointed when we can't find full episodes of
| | 00:32 | our favorites shows available to stream,
but back then, executives were really,
| | 00:37 | really afraid of this. When ABC
came to us and said, "This is incredibly
| | 00:42 | hush-hush, but this is what we want to
try to do. And we want an interface and
| | 00:48 | an experience that is as exciting to
the consumer as our content is going to be,
| | 00:55 | and feel cinematic and doesn't
feel like Google Video, which is a postage
| | 01:00 | stamp piece of video with a list of links."
| | 01:02 | Jason Brush: All other things that
people love about television, no matter what
| | 01:11 | you think of the quality of the
content that actually gets delivered,
| | 01:15 | but all of the things that people love about TV
about the simplicity of it, about the ease
| | 01:19 | in which you can get communication,
about how dynamic and exciting
| | 01:25 | the graphics and the stories are,
that you could actually create that same type
| | 01:31 | of experience on the PC and that in order to
do that you needed to come with up a way of
| | 01:39 | accessing that content, which felt
televisual, it felt like TV, it didn't feel
| | 01:44 | like just a website.
| | 01:46 | We could have created a very beautiful
SWiss-looking simple thing, but instead
| | 01:52 | we decided to approach it to say
that well, how can we make this be more
| | 02:01 | environmental, be more dimensional,
be more dynamic, be as I was saying more televisual?
| | 02:08 | So we used space, we used motion,
we used all of the tools that
| | 02:13 | you would expect in broadcast
design and applied them to web design.
| | 02:17 | Andrew Solmssen: We realized early on
the natural ad breaks where traditional
| | 02:23 | television advertising is shown, is
the only place you can really stop the show.
| | 02:26 | If you try to do it anywhere else,
it feels really jarring and strange.
| | 02:30 | So we knew where we could stop the
show. But we also knew that unlike
| | 02:34 | traditionally on the web, we didn't
want to have a lot of adjacent content.
| | 02:38 | So we didn't want to say, okay, we are
going to have the video window and then
| | 02:41 | we are going to paint a bunch of
sponsorship pieces around it, because again
| | 02:45 | we really felt like that detracted from
the video. In fact, with ABC we had
| | 02:48 | the whole background kind of fade back.
This is something which has been picked up
| | 02:53 | by Hulu and picked up NBC.com and a
lot of people have done this, so that
| | 02:57 | you really feel like you have
that cinematic experience.
| | 03:00 | The way the ad model works is it's
fully interstitial. So like on television,
| | 03:04 | the video content goes away completely
and the advertiser now owns that content.
| | 03:08 | And here is what so interesting.
| | 03:11 | This is what advertisers have asked for
for a long time. Give us a green field
| | 03:15 | where we can really play and really
showcase what the web does so well for
| | 03:20 | interactive advertising.
| | 03:22 | Unfortunately, because of the way that
a lot of the ad agencies were set up,
| | 03:27 | we didn't -- when we first put this
model out there, ABC would receive back
| | 03:32 | just a 30-second TV spot. Here is why
that was a challenge. The model works
| | 03:37 | like this. The viewer is trapped for
30 seconds, they have to stay for 30 seconds
| | 03:42 | and then at the end of that, they can
click a button and go back to the show.
| | 03:47 | So if you show a 30-second TV spot,
and it goes black after 30 seconds, well,
| | 03:50 | of course, the person is going to go
back to the show. Meanwhile, if they are
| | 03:54 | other ways that you can entice the
viewer into spending more time and having
| | 03:58 | a deeper interaction with that brand,
you can get something so much more than
| | 04:02 | just an impression from a
piece of video or from a banner.
| | 04:06 | Trevor Kaufman: When we created
interactive advertising for ABC television shows,
| | 04:10 | the recall was much, much
higher. It was closer to 90% than
| | 04:17 | the approximately 20% you'll usually
get for unaided recall in broadcast.
| | 04:21 | To have a full screen interactive ad that
can contain video, animation, anything you want,
| | 04:27 | turns out to be an unbelievably
compelling advertising unit.
| | 04:31 | And what's been unfortunate is that
the ABC ad unit model has not spread
| | 04:38 | throughout the web, and that's because
ABC kept it rather close to the vest,
| | 04:41 | and also frankly I think a lot of --
without it being a broad standard,
| | 04:45 | a lot of agencies and advertisers are
concerned about the production cost of these
| | 04:51 | very elaborate, almost mini-sites, if
you will, that can serve as interstitial
| | 04:56 | advertising in video. But there is no
question in our minds that that's the way
| | 04:59 | things will go in the future.
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| Advanced Interaction Group| 00:09 | Dale Herigstad: One important ideal
factor in this process is actually user
| | 00:13 | testing. If it could be accomplished in
the schedule, it's of course really great
| | 00:20 | to say look, if we're recommending this
new idea, let's make a prototype of that.
| | 00:25 | Let's get it in front of some users and
test it and see if they understand the
| | 00:29 | functionality that they have to understand,
that they like what it does, let people
| | 00:34 | talk about it and respond. But
also from a usability standpoint,
| | 00:38 | are we proposing some new thing that
people can't figure out? Is it too difficult?
| | 00:42 | So all those things, if you have
a series of tests you are doing,
| | 00:46 | that can help you actually alter the design
and help improve design, that's ideal.
| | 00:51 | There are some other projects that we
do, or actually a good percentage of
| | 00:56 | the work that we do, is a prototype
which is it may be Microsoft or Sony who
| | 01:03 | comes to us and they say we have a new
technology, we want to build something
| | 01:06 | out here and we want this as an entity.
This may not be the full production --
| | 01:11 | this is not going to production,
it's not going to final customers.
| | 01:14 | But it's something else that's actually
going to, maybe to do some testing,
| | 01:18 | it may be doing some, if it's a large company,
some internal development and ideation to see
| | 01:24 | whether on a business level that
the company really wants to move to
| | 01:27 | this new product or this new position.
| | 01:29 | So those are important things but
they are less about an ongoing system and
| | 01:34 | maintenance. It's really just
there is an entity you are producing and helping
| | 01:38 | In that case, those clients are
tapping our minds and our experience
| | 01:43 | to try to vision -- it's visioning things.
It's saying here is a new idea we can do.
| | 01:47 | It looks like this.
| | 01:49 | Andrew Keegan: My name is Andrew
Keegan. I am the manager of the Advanced
| | 01:51 | Interaction Group here at Schematic.
The Advanced Interaction Group is
| | 01:55 | an especially a small team of cross-
discipline staff. We are not really
| | 02:01 | designers and we are not really
developers. We are kind of jack of all trades.
| | 02:05 | What AIG is formed to do was to be heavy
in conceptualization and prototyping,
| | 02:11 | to help bridge the gap between creative
and technology, so that we could better
| | 02:16 | suit our clients and better suit their needs.
| | 02:19 | The process for us working on a project
in AIG can start off in many different places.
| | 02:24 | It can start off in a meeting,
it can start off from a hallway,
| | 02:27 | it can start off with someone's idea.
We can start off on paper or a white board
| | 02:31 | as we often do here in Schematic and
we will draw and we will talk about it,
| | 02:35 | we will get ideas, we will listen and
we will think and work as a team, which is a
| | 02:37 | really, really important part
of how we work in our process.
| | 02:41 | Everybody has a say from every department
in any way. If you are in the meeting,
| | 02:46 | if you are walking by, we can grab you
and ask you a question and get your input.
| | 02:51 | From there we often go into Flash,
sometime Silverlight, sometimes
| | 02:56 | After Effects, pretty much any program.
| | 03:00 | One of the things that we try and
focus on is that we are jack-of-all-trades
| | 03:05 | and we should be able to work in any
software package. Part of what makes AIG
| | 03:10 | special is our agility. So sometimes we have
a project that's been working for six months
| | 03:16 | and we get called in at the last
minute because the client needs something
| | 03:20 | to explain to his boss or explain to
somebody else on the team so they can
| | 03:23 | understand what's going on, in which
case we just have to jump in as quickly as
| | 03:28 | possible, understand what they have
been doing for the last few months,
| | 03:32 | sit down with them and have short meetings
of getting an idea of what the concept is
| | 03:35 | and how they are achieving it and
then we'll build that out as best we can
| | 03:39 | in that amount of time.
| | 03:41 | Sometimes we've brought in very early
at the beginning, and we work with UX
| | 03:44 | and Design and come up with ideas and
concepts. One of the advantages that we have
| | 03:48 | from being partly creative and
partly technical is that when you are
| | 03:53 | sitting in a meeting and you are
talking to someone from Design or UX that has
| | 03:57 | a problem they are trying to solve and
they might have a solution for it, but
| | 04:00 | from our technical background that we might
be able to give them a better solution
| | 04:04 | that might work better. Those are the
preferred cases that we work with when
| | 04:08 | we work with something from front to back.
Then we can hand it off to technology,
| | 04:13 | communicate with them and show them
how we coded something, or the logic
| | 04:15 | behind some aspect of the UI to
help them along their process.
| | 04:21 | There are some very bright people
that work here that's really an advantage
| | 04:24 | that I have had nowhere else I have
ever worked. So it's a lot of fun and
| | 04:30 | partially because of the way we do
work, in that we don't have to get stuck
| | 04:33 | into three months, six months, eight
month long projects, that can really start
| | 04:37 | to drain you and pull you down after a
while. We get to just kind of hop and fly
| | 04:42 | around and jump in and work on
something. Even if it's something you don't like,
| | 04:46 | you are going to be down with
it in two weeks and you can move on to
| | 04:49 | something a little more fun.
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| Evolving media: Gestural navigation| 00:09 | Dale Herigstad: Gestural navigation is a passion of me personally.
| | 00:12 | It's something that started with--
I guess the roots of it in traditional
| | 00:17 | up/down/left/right navigation, which
is very consistent with most television
| | 00:21 | navigation that all of us are familiar
with. But in the early part of around
| | 00:29 | 2002, maybe seven or eight years ago,
I worked along with some other groups on
| | 00:37 | the development of the ideas for
navigation in {italic}Minority Report,{plain}
| | 00:41 | which is a very interesting experiment.
| | 00:43 | It was interesting. Those of us who were
doing this process of looking to the future,
| | 00:49 | we also came up with the same idea
that the input would probably be a future.
| | 00:55 | And we thought that that would
be 60 years down the road at the time.
| | 00:59 | It's amazing how quickly that's come around.
| | 01:02 | There was something that clicked in
that particular movie. It's very popular,
| | 01:05 | but if you ask people on the street,
many people know that thing about gesture
| | 01:09 | and that did an implant. In my opinion,
it moved gesture as an idea forward and
| | 01:15 | sort of made it happen. It's making it
happen now because people still think
| | 01:19 | of that. It's a metaphor in everyone's mind.
| | 01:23 | I really believe in-- That was a case of
visualizing something and putting it in front of,
| | 01:29 | in that case, a really wonderful large
audience. But much of the work that we do at
| | 01:34 | Schematic is that same idea. It's saying
if there's an idea then mock it up and
| | 01:38 | do it and put it out there. When
you visualize it, that's when people
| | 01:42 | understand it and it can start
making things happen ahead, ahead of time.
| | 01:47 | In the movie, Tom Cruise had a glove
with little detection things on it,
| | 01:54 | or something in there. So, to me that was
somewhat device-like. The vision that a
| | 02:01 | bunch of us had about this, and it's my
ongoing vision on this, is that you really
| | 02:05 | don't need that. Because what's really
being detected is actually hand gesture
| | 02:10 | and hand motion, hand position and insigna-
like signing. So any of this sort of material--
| | 02:17 | I am sort of resistant to the idea
that you have to have something that you
| | 02:21 | may not have. My hand is always here.
It's always there, always ready to perform.
| | 02:26 | So the purity of no device, no
glove, no nothing, is such a beautiful,
| | 02:33 | wonderful idea and hand gestures are
something just, it's innate in us.
| | 02:38 | I think that you could probably do cross-
cultural studies that everyone uses their
| | 02:43 | hands to mean things. I mean the
Italians are wonderful at it, they do this,
| | 02:47 | but it's all built into how we communicate.
| | 02:50 | So using that idea, again this was
that distance gesture showing that --
| | 02:57 | this is really interesting when you can
touch the screen. What I am addressing
| | 02:59 | now is when you can't, when you are
distant from the screen. We have already at
| | 03:03 | Schematic produced the example which I
am going to show you of using just pure
| | 03:07 | hand navigation to navigate through
kind of typical, kind of, functions
| | 03:11 | you would do on your television.
| | 03:12 | What we discovered is the hand actually
is providing language just like words,
| | 03:17 | that sort of say certain things. So
one of those is how do you activate the system?
| | 03:21 | Because it's not an operation
all the time. There is a moment when I
| | 03:23 | want to use it but what am I signaling?
What our path right now is to say,
| | 03:28 | look, something you probably wouldn't do
normally is hold your hand up and hold
| | 03:31 | it still for about two
seconds, two or three seconds.
| | 03:33 | Then that's what tells it, that it
activates it and then from there you choose a
| | 03:38 | function. It's like a little menu
system here that's directionally-based.
| | 03:42 | Then you can do things like browse, adjust
the volume and get things and the typical
| | 03:47 | kind of things you would do on your TV.
The last one would be deactivating,
| | 03:51 | what you are doing to kind of turn it off.
Because it's this transitory experience,
| | 03:55 | all just using your hands.
| | 03:57 | So the first example would be
controlling volume. So what we did --
| | 04:00 | you'll see a little hand on here but you hold
your hand up like this, you activate it,
| | 04:03 | you flick the arrow over like that and now
you just simply move up and down like this.
| | 04:06 | Look at how easy that is, just sort of
pick the volume, flip away when you are done.
| | 04:09 | So just with a few little gestures,
and I always like to call this for
| | 04:13 | television, we are getting this down,
the accuracy is getting accurate
| | 04:17 | enough to call it, I would call it couch
potato mode. So you really just sort of
| | 04:20 | you go on the couch and just kind of
go like that, just very minimal gestures
| | 04:24 | to kind of do this. It is not iToy
or Exercise Wii. This is like I am in
| | 04:29 | casual mode of television.
| | 04:32 | Here is an example of using that
same for browsing content. So, again,
| | 04:35 | I activate the system, push back, now
I am going to go to the menu like that.
| | 04:40 | Then I am going to take my hand, I am
going to up through some things and
| | 04:43 | here is a selection of kinds of things.
Let's look at photos. It opens up and
| | 04:48 | shows me what that would be. Here is
movies. It opens up that. Let's go there.
| | 04:51 | All this, like New,
here is the list of new ones.
| | 04:57 | This part of it demonstrates actually
going through a list where it might be
| | 05:00 | a long list and you might want to
actually -- in that case we just flicked up
| | 05:06 | to Page Up, so a flick is different
than like just a normal motion. So
| | 05:10 | the difference between a quick motion and an
up-down, which works very nicely by the way, and
| | 05:14 | now we select something. So we just changed it.
We found another one, just change it
| | 05:17 | just by a few hand gestures.
| | 05:19 | One of my favorite parts of
demonstration here is the player controls because
| | 05:23 | most of the player controls really
utilize a bunch of buttons. You've got a
| | 05:28 | Play, Pause, Stop, Fast Forward,
there is a bunch of things that you are
| | 05:31 | processing. You may have to
look at a remote to do that.
| | 05:34 | But if you translate that into gesture,
look at how simple this gets, where
| | 05:37 | you can hold your hand up, start like
this. So you will flick up to the player
| | 05:40 | controls like that and then now you are
anchored on it. You can take your hand
| | 05:44 | and sweep it across the whole stretch
of the movie on sort of a macro level.
| | 05:49 | So here we moved it onto Chapter 6.
Now let's go back here. We will go there
| | 05:53 | and we will find something. Now we
want to zoom in and go in little more detail.
| | 05:57 | You grab and pull it and it
opens up to a little more detail.
| | 06:00 | Move along here like that. Once you have got
the one you want, when you want you flick down
| | 06:04 | and it will go to that point in
the movie like that, just like that.
| | 06:09 | So the purity of doing all those
actions up there with just your hand,
| | 06:13 | with no six buttons as you just did that.
That's a really good example of using gesture
| | 06:18 | and this actually works in our studio.
| | Collapse this transcript |
| Designing spaces| 00:09 | Dale Herigstad: That first stage
I like to call, in my language, sketching
| | 00:12 | because it's really meant to be having
designers resist the temptation to start
| | 00:19 | making really pretty documents with
lots of Photoshop layers and making it look
| | 00:23 | just one gorgeous frame at the end of
the day. What we need to see is a lot of
| | 00:27 | thinking. The sketching in that the work
that we do with is more advanced work,
| | 00:32 | which is very dynamic and I have said
that motion is so important. Well, that
| | 00:36 | means animation is happening
right at the beginning there.
| | 00:40 | One of the problems sometimes is doing
this process where you wait too long to
| | 00:46 | see it animate and actually see it
running,and see it working. And then
| | 00:49 | the design process really kicks in
later at actually maybe at the same
| | 00:54 | this motion and sketching is going on.
You may have kind of a parallel activity of
| | 01:00 | seeing what that current thinking of
design, which may be changing, what that
| | 01:05 | looks like in a more finished form. So
those exercises are going at the same time.
| | 01:09 | David Vegezzi: I think overall we are
really thinking that everything that
| | 01:12 | we are creating is about space. And that
space that's created, we are able to
| | 01:19 | create an environment for it for the
information and then how do we get from
| | 01:24 | one place to the other. It's kind of
like what is the arc? The most successful
| | 01:28 | project has always been from the get-go,
when we start and you have probably have
| | 01:33 | seen as Dale does, the white-boarding
part of it, coming up with all the
| | 01:37 | information that needs to be
incorporated and what is the concept of it.
| | 01:40 | We white board that and then basically
the UX and the Design departments,
| | 01:47 | the creative and designers, everybody goes
their own way. And then we come back and
| | 01:52 | we put on the table all the different
ideas that we come up with. And the UX
| | 01:58 | and the Design feed off each other
from that, and then we start sculpting
| | 02:03 | the piece until it becomes an actual design itself.
| | 02:08 | And EA Sports that we did and tried to
integrate the menu system of it,
| | 02:14 | the graphical menu system, the opening
graphics. Basically their whole graphical
| | 02:18 | language would become more integrated
and more unified through all the games.
| | 02:23 | We refined their logo, unified it and
created a graphical system that became
| | 02:28 | not only spatial to the space but then
we used this branding that we created
| | 02:36 | for the look and feel, it would become just
very uniform but very much based on their brand.
| | 02:43 | Most of the work and I think it's going
to be happening more and more that
| | 02:46 | three dimensional work, the few of the
projects that we have done recently that
| | 02:51 | play a lot with light too. The way
that how light would reflect into the
| | 02:57 | typography, in connection to
activity and the actual space.
| | 03:01 | The design itself, the visualness
of it, is as important as the actual
| | 03:06 | functionality of it. And I think that--
and how it moves and what the movement
| | 03:10 | is of it and what's the feeling of the
design. Because you can create a great
| | 03:16 | user interface but then really what
is that image that it ends up being and
| | 03:20 | what's the actual feel of it that
a person sitting there or watching it from
| | 03:25 | the television, is really
feeling what is this piece about?
| | 03:28 | It's not about creating beautiful,
decorative designs; it's really coming up
| | 03:35 | with stuff that really functions, but
then that design itself is the whole.
| | 03:42 | The design, everything is the design.
| | Collapse this transcript |
| Creativity and the economy| 00:09 | Dale Herigstad: In my career on the
planet in digital media, some economic
| | 00:16 | upturns and downturns have happened in
the last 20 years and that have really affected
| | 00:22 | how I approach running a business and
participating in the adventures that
| | 00:29 | we call a business. For several years,
for about two or three years that was the
| | 00:36 | rise and just about the burst of the
Dot-com bubble. During that time I watched
| | 00:42 | a lot of my competitors just disappear.
They went out of business and I kept
| | 00:46 | asking myself the question do I...?
I am really on the verge of bankruptcy.
| | 00:50 | Do we keep going here? Do we stop? What
do we do? It was a rather severe downturn,
| | 00:56 | as we all know.
| | 00:57 | Sometimes the pressures of scaling
back, becoming more efficient, I use the
| | 01:02 | word efficiency where I think that
it's lessons that we have for ourselves now
| | 01:08 | as companies in digital media,
to tighten up our bootstraps a bit and be able to
| | 01:13 | be more efficient. What that taught me
is that, it's obvious right now, we are
| | 01:19 | now in '09 and everyone is looking at
this coming year as a difficult year
| | 01:26 | financially and I think based on what
I have been through, I am prepared to
| | 01:31 | just go in there and keep creating
new things, because the lesson is if you
| | 01:36 | hang in there with that, what rises
at the end of that, maybe that's in the year,
| | 01:39 | maybe it's in six months.
| | 01:41 | The deeper thing is kind of inside you,
what do you really like doing and I think
| | 01:45 | for me I was able to keep going. You sort
of get in touch with what you really like doing
| | 01:49 | and I really like invention.
I really like pushing things forward and
| | 01:53 | that's what I did then and kept doing it
and kept it us alive and I am fully
| | 02:00 | prepared to do that now.
| | 02:01 | I think it's looking to the future
and saying that this downturn isn't
| | 02:08 | forever. There will be an uptick at
some point here and at this point in
| | 02:13 | history for those of us who have been
through the long history of digital media and
| | 02:18 | interactive media, where that's gone,
it's pretty clear there is a sea change
| | 02:22 | that's about to happen. It will be
happening now and it will happen.
| | 02:26 | The audience is already beginning
to move from massive consumption in
| | 02:34 | traditional television to picking up
that media in other places. I mean these
| | 02:38 | things are just happening whether the
downturns on or not. I mean people
| | 02:41 | have the devices, it's happening.
| | 02:43 | So our ability to stay ahead of that
and to keep addressing where the audience
| | 02:49 | is moving is essential. It's just
at point time right now. To me
| | 02:56 | it's unfortunate like this downturn is happening
right now, because if it wasn't for this downturn,
| | 03:01 | this would be a terrific year.
I mean there is really - it's really -
| | 03:04 | we're just on the verge, you can just kind
of see it. But that's not going to stop.
| | 03:08 | That's going to slow down or whatever
it does but I think we have always been
| | 03:13 | a company that stays ahead of things.
| | 03:15 | So we need to just think about that.
We are often five years ahead in terms of
| | 03:19 | with some of our clients. With a good
portfolio, continuing work, but kind of
| | 03:24 | struggling along and almost losing the
company. Got through it and on the other side
| | 03:30 | the lesson in that to me was to
hang in there and to keep creating great
| | 03:37 | new ideas and keep innovating.
Those are the things that I like to do.
| | Collapse this transcript |
| Working with Dale| 00:08 | Andrew Keegan: Dale is an amazing,
brilliant, wild-haired mad scientist.
| | 00:12 | Colette Becker: Dale is the Chief
Creative Officer here. You can really feel it
| | 00:18 | in all the projects that happen here.
Even if he is not in the room,
| | 00:22 | there is a presence there.
| | 00:23 | Andy Jonez: If you look at a lot of
our projects, everything sort of has this
| | 00:28 | distinct visual style because most of
that art direction is coming from Dale.
| | 00:32 | David Vegezzi: He always wants the best
I think of every project. I think that
| | 00:36 | he takes it always to that next level.
| | 00:38 | Andrew Keegan: He is brilliant. He is
well set his ways. He knows what he is
| | 00:42 | talking about and having somebody with
that kind of experience and that kind
| | 00:45 | of knowledge behind you to work with
is an absolute dream. It's kind of
| | 00:50 | the reason I came to work here.
| | 00:51 | Dale Herigstad: The things that I
really enjoy about Schematic, about what's
| | 00:54 | happening here at this company is
the ability to work with other really
| | 00:58 | talented people. I mean that's what
gets me out of bed in the morning.
| | 01:02 | I mean, being able to come into the
office and I am a little tired, I've just
| | 01:07 | have my coffee, and I walk into my
office, which has a glass and there is like
| | 01:11 | a sea out there. And suddenly, you see
this activity happening and I get over
| | 01:14 | and I know that there is a team over
there. I can say something and it hits
| | 01:17 | them a little bit and they head
this way and they come back. I have got
| | 01:21 | really talented and really
fun people I am working with.
| | 01:24 | Colette Becker: He is definitely
thought of as a pioneer or someone who is
| | 01:28 | ahead of his time, someone that's going
to bring us into things that we haven't
| | 01:35 | thought of before.
| | 01:35 | Andy Jonez: We are doing CSI
Interactive for Interactive TV. I think maybe 11
| | 01:40 | people saw it. Like we get the numbers
and it'd be like six people logged on this week.
| | 01:45 | But we would take these projects
very seriously. Dale is always thinking
| | 01:51 | this is the first step. He is always
thinking about sort of where is this work
| | 01:55 | going to lead.
| | 01:55 | Jason Brush: He has a great vision for
how people should be interacting with
| | 01:58 | things and the way in which product
should work and the way in which people
| | 02:04 | should be able to control interfaces.
He has been way ahead of the field for a
| | 02:08 | long time in all of those regards. But
for me just on a day-to-day working
| | 02:12 | level, the most remarkable thing about
Dale is his ability to map out visually
| | 02:20 | a solution to a problem.
| | 02:21 | Trevor Kaufman: Dale and I are mostly
together in new business contexts.
| | 02:26 | It's funny because I often think, Boy!
This is a more traditional company.
| | 02:32 | They might not really understand everything
that Dale wants to tell them about new
| | 02:36 | paradigms for television, or spatial
navigation, or any of the ideas that Dale
| | 02:41 | wants to put forward.
| | 02:42 | I am universally wrong in those
circumstances. Because what Dale is talking
| | 02:48 | about and the things that Dale is
addressing are things that every one of us
| | 02:53 | think could be better about the way we
navigate content and the way we think
| | 02:58 | about organizing media.
| | 03:02 | Andy Jonez: Everything is sort of make-
believe land and we'd say, one day the
| | 03:06 | technology is going to be able to do
this and one day set-top boxes are
| | 03:11 | actually going to be more like
computers. We'd do these demos and they'd be
| | 03:17 | fantastical almost. Now, they look
kind of lame compared to what we can
| | 03:22 | actually do now.
| | 03:24 | David Vegezzi: Well, we have been
really always trying to look at how far
| | 03:28 | we can go with it and that the
functionality of it is just taken to a level that
| | 03:34 | it's a complete visual experience.
| | 03:37 | Colette Becker: There is a whole
thought process behind everything and there is
| | 03:40 | a reason for everything.
| | 03:41 | Jason Brush: We often ask ourselves
what would Dale's solution to the problem be?
| | 03:46 | After you have worked with Dale for
a long time, you have a very-- I feel
| | 03:54 | like I can hear his voice. So I can
hear and I can see how he would solve a
| | 03:59 | particular problem, which is really
valuable for us because it allows us to
| | 04:04 | tackle a huge variety of problems
even without him being in the room and
| | 04:10 | to understand that he is really
driving the vision of the company forward.
| | 04:15 | Dale Herigstad: It's so critical to
work with great people here. They are all
| | 04:19 | slightly crazy, like all of us. I mean
we are creatives. We all have great quirks.
| | 04:24 | We have got great --- if you look
more carefully at their desks
| | 04:28 | and you see that they all have
something unusual they like doing. That's part
| | 04:33 | of being a creative. We are not suit and
ties here; we know how to have fun and
| | 04:40 | bring some of your character to the process.
| | Collapse this transcript |
| The Digital Living Room| 00:09 | Dale Herigstad: This room is actually
an important one for us, because we deal
| | 00:12 | with a lot of kind of unusual platforms,
including game boxes, Slingbox, other
| | 00:19 | technologies, other platforms, Windows Media
Center. We have those in here, so the designers can
| | 00:23 | come in and play with those technologies
when they are here. So it feels kind of a
| | 00:26 | living room. It's our digital living room.
| | 00:27 | Brook Martin: We have complied a
lot of our prototypes and media center
| | 00:32 | applications in this room. We use
this for our client preview. So if we have
| | 00:38 | something we have edited together or a
prototype that we would like to present
| | 00:41 | to a client, we can bring him to this
room to show them the application in a
| | 00:45 | real living room environment or as we
call it ten-foot environment where user is
| | 00:50 | about 10 feet from the screen itself,
to really get a real sense of what the
| | 00:54 | application would look and feel
like in a consumer's living room.
| | 00:58 | Here are a couple of our prototypes
that we have here that we can show.
| | 01:01 | We have SlingCatcher from Sling Media
that we helped build the interface for last year.
| | 01:08 | A Voodoo, we didn't do anything
for that particular interface but
| | 01:11 | it tends to be a user interface we use for
a lot of competitive analysis. The Xbox
| | 01:17 | and the Wii are two platforms that we
develop our applications for and UIs for
| | 01:23 | rather routinely. And a PS3 because
we like to play all the PS3 games.
| | 01:30 | So this is a device that we are
using called Prime Sense. It detects user
| | 01:34 | gesture. I can navigate to this
direction of screen by just holding up my hand
| | 01:40 | and moving it through a series of
navigation and content menus. To find more
| | 01:45 | content in case I wanted to
use this without a remote.
| | 01:50 | But the Prime Sense sensor just simply
detects video and 3D information to
| | 01:55 | understand where I am in space and
looks at -- knows where my head and
| | 02:00 | shoulders are as well as my hands. One
thing I want to show you is our surface table.
| | 02:04 | This is just a sample application
we use all the time to sort of look
| | 02:07 | at different interaction models. You
can interact and play with each of these
| | 02:12 | and flick them and this is one of the
first multi-touch applications. We use
| | 02:17 | this for application development. A lot
of our developers are spread across our
| | 02:22 | many offices and so they will compile
code and then we make it launch it here
| | 02:26 | and then again our usability experts in our
Ux department and the designers can actually
| | 02:30 | see the results of all the
development and user test it here.
| | 02:35 | This one, for example, is a mapping
application where you could zoom into
| | 02:40 | different areas of world in almost real time.
| | 02:44 | You can also turn around this so you
can show it to somebody else and take
| | 02:50 | them and navigate them through the experience.
This form factor is also potentially
| | 02:54 | meant to be used in a person's home so
they can use this and connect it to a
| | 02:58 | home media server, where they could
have video, or audio, or music or images,
| | 03:03 | vacation photos and things like that,
served up to this device but they could
| | 03:06 | also use this device to manage the
playback or presentation of their photos and
| | 03:12 | music and video throughout their home.
So other connected devices such as Windows
| | 03:17 | Media Center or some other music device
like a Roku in your bedroom or something.
| | Collapse this transcript |
| Evolving media: Brainwave Input| 00:09 | Dale Herigstad: So another kind of input--
we have been working with Emotive in
| | 00:13 | San Francisco, based in San Francisco,
who has a product which is a beautifully
| | 00:17 | designed headset, a little head gear
thing, designed by IDEO that goes,
| | 00:23 | you fix it out on your head and what it does
is you can do cognitive actions, also with
| | 00:30 | your hands and body. But you can
imagine that there are also some non-conscious
| | 00:35 | things that are coming from your mind.
How do you utilize that without having to
| | 00:38 | consciously think of it and click a button?
| | 00:41 | So what it can do is it can
actually track facial emotions, there's a
| | 00:45 | gyroscope in there. But it also is
reading our eye blinking, eye direction,
| | 00:50 | your mouth, whether you are smiling
or not smiling through picking up the
| | 00:53 | muscle motion through your brain.
| | 00:54 | So probably the most interesting
thing about this for me was utilizing
| | 00:59 | cognitive, I mean, you're actually making
things happen. What this is picking up is
| | 01:05 | not his hands, but it's inside his head.
He is thinking lift this up. He has
| | 01:09 | assigned his brainwave pattern to
certain functions: lift, move, rotate
| | 01:15 | whatever, like that. And I have
used this by the way and it does work.
| | 01:19 | But you assign that and then you can
actually -- he is using his hands because
| | 01:24 | it's easier to think that way. It's interesting he
can't stop using his hand, but if you put his hands down,
| | 01:28 | you can actually just think it
and it would raise up and raise down.
| | 01:30 | So some very interesting applications for the
handicapped and this is for people, you could imagine,
| | 01:37 | who are quadriplegic and can't make use
their limbs, could actually this to control
| | 01:41 | certain functions on a computer. And
then another interesting type of activity
| | 01:47 | that's being registered through brain
input is actually your emotional state.
| | 01:52 | And in this case, we created a kind of
a mock-up of a content delivery system
| | 02:00 | where you could, with the headset on,
you are using your hand through your
| | 02:04 | remote control or other kinds of hand
navigation or gesture and it's presenting
| | 02:12 | content to you, but it's also in real-
time picking up your response to that
| | 02:15 | and sort of taking away
and bringing up new stuff.
| | 02:18 | So you could see there is sort of--
again it's just picking up brain activity
| | 02:21 | without you having to consciously
click on things. This particular notion is
| | 02:26 | interesting. One way to understand it
is that they are using it for games where
| | 02:31 | if you wear the headset and you are
playing a normal game with the regular
| | 02:33 | game controller, what this is
registering, what the headset registering is your
| | 02:40 | emotional response to, say, the
differences between frustration and boredom.
| | 02:44 | So if it's sensing you are getting
bored, it will automatically raise the
| | 02:47 | level of game up to be more difficult.
Or in the reverse, if you are really
| | 02:52 | getting frustrated, it will drop the
level of the game down a bit. So again,
| | 02:55 | those are actions you would normally
have to click through a button but
| | 02:57 | it's just picking up that data from your head.
| | Collapse this transcript |
| Interview with Lynda| 00:09 | Lynda: Well, welcome everybody!
I am here today with Dale Herigstad from
| | 00:12 | Schematic, the Chief Creative Officer,
and Dale and I actually are old friends
| | 00:16 | and go way back so it's wonderful to
see what you have accomplished here.
| | 00:21 | How many people do you have
working at Schematic now?
| | 00:23 | Dale Herigstad: It's roughly
400 across multiple offices.
| | 00:27 | Lynda: Wow! Incredibly impressive!
So I knew you back in the days when you were
| | 00:32 | in broadcast design and more doing film
making and motion graphics and visuals
| | 00:38 | and so, what intrigues you about the
interactive space and how did you make
| | 00:43 | that segue-way from being
purely visual into interactivity?
| | 00:47 | Dale Herigstad: The thing that I
really like about is that layer of like
| | 00:50 | the thought process. It's moving from --
it's certainly not that there isn't any thought
| | 00:55 | in like linear, making promos
or making advertisements or films or
| | 01:00 | whatever they are, those pieces.
But they are linear and carefully crafted.
| | 01:03 | When you are crafting these experiences
and you have to kind of diagram it out
| | 01:07 | and you've got to think all about
stuff through, it's a layer of abstraction
| | 01:10 | and kind of thought that isn't in a
linear piece. That's the part that I find
| | 01:15 | really challenging.
| | 01:16 | Lynda: There really has been no
precedent for it up until the last 20 or 30 years.
| | 01:21 | So it's new to everybody
including you, but you're kind of inventing it.
| | 01:26 | You're at the forefront of this
industry. So that must also be interesting.
| | 01:32 | Dale Herigstad: We have gotten this
sort of brand or this sort of notoriety
| | 01:38 | about stepping into innovation and
stepping into designing things which are
| | 01:41 | down the road. I mean big clients come
to us to say "design this new thing"
| | 01:45 | and that innovation. I really like that.
It's important to have designers who
| | 01:52 | come into that and they are not afraid
of that. They want to do that and they go,
| | 01:56 | okay, there is no model here to this;
we are inventing the model as we go.
| | 01:59 | Lynda: How do you recruit and what
do you look for when you are hiring?
| | 02:03 | Dale Herigstad: We are a real people place.
We like people who -- you'll see some
| | 02:09 | of these people that are out here,
who work with us, our gang here.
| | 02:14 | Their characters, they bring an
interesting personality to the table, which is
| | 02:19 | important and we let that sort of exist
here in the space, like many creative spaces.
| | 02:23 | But also, we want people who
can communicate, ideally communicate
| | 02:31 | their ideas very well. So that moves
into other kinds of communication skills.
| | 02:37 | Lynda: How do you test that when you
are in the interviewing process.
| | 02:39 | Do you have a methodology for that?
| | 02:41 | Dale Herigstad: The review process is
involving several people. For me, it's
| | 02:48 | a lot by gut and just by asking questions
and certain questions, asking people,
| | 02:54 | "how would you explain this design you're
showing me there?" And learning from that process
| | 03:01 | how they communicate, how
they are able to express themselves.
| | 03:07 | Lynda: What kind of technologies do
you mostly use in the shop, like what is
| | 03:12 | the standard tool set?
| | 03:14 | Dale Herigstad: For a design you mean?
| | 03:16 | Ah, yeah. Well, certainly the
Adobe Suite, the Creative Suite, is actually
| | 03:23 | an essential thing, your basic
Illustrator, Photoshop. But the things that
| | 03:27 | we move into here in this shop in
particular are in animation as well, because
| | 03:33 | the work that we do is what I call rich
media. Whether it is television work, trying
| | 03:36 | to look like broadcast, and it
moves, it's dimensional or even applying
| | 03:43 | Flash and other things to web design
that we're doing, whether it's banner ads
| | 03:47 | or other kinds of new campaigns or
parts of websites, it's the animation,
| | 03:52 | how it moves, all of those things.
| | 03:54 | There's just kind of two levels of
design that are important to me in that
| | 04:00 | process. One of them is the actual
execution. For example, if some of the
| | 04:05 | website is going to be done in Flash,
then you may want to use Flash for
| | 04:08 | our testing and other things we are doing
and sketching and kind of arriving at that,
| | 04:12 | a rough design process. But
in some cases as we're designing for
| | 04:20 | something new like first surface or for
some other new applications, we may not
| | 04:25 | want to get entangled in the depths of
that technology to make the tests. So,
| | 04:29 | what are the other appropriate kind
of tools? There is a whole selection of
| | 04:34 | those available, whether that's Flash
or it's After Effects or it's something else,
| | 04:39 | just make it move and look at it.
| | 04:41 | Lynda: Or a 3D software.
I see a lot of 3D software.
| | 04:43 | Dale Herigstad: Yeah, exactly. There
is such a tendency as a designer and
| | 04:46 | I have the same thing. If I sit down
and when I come up with--
| | 04:48 | at the very beginning, I want to really see,
ten, twelve, new ideas. I will get stuck on
| | 04:54 | the first one and make it look really
nice. So I'll put more and more layers and
| | 04:57 | stick in Photoshop.
| | 04:58 | So it's trying to restrain that
process in sketch, so you really get that
| | 05:02 | breadth of exploration early on. So
sketching and that. And so what are the
| | 05:06 | tools to do that? In Motion, what are
the Motion tools? I am using Keynote
| | 05:10 | sometimes to do that, which is just
the motion capability just in Keynote.
| | 05:14 | So what are the simple tools to
arrive at simple ideas pretty quickly?
| | 05:19 | Lynda: Has there been a pivotal
technology in your opinion in the last couple
| | 05:22 | of years or has there been a series of
pivotal technologies that have impacted
| | 05:26 | the kind of work that you can do?
| | 05:28 | Dale Herigstad: There have been
several. I think for me, one that I have
| | 05:32 | particularly enjoyed is from
Microsoft, the Media Center, the Vista Media
| | 05:37 | Center platform. That one is because my
goal of doing interactive television is
| | 05:43 | to make it look like TV and you can
really get good, solid animations that
| | 05:50 | have ease ins and ease outs and multiple
layers and I do like that platform. I like the
| | 05:57 | game platform because it has, of
course, good graphics capabilities.
| | 06:04 | In terms of new technologies that are
out there, I think things like what's
| | 06:08 | happening on the iPhone and surface
and exploring gesture. I mean that new
| | 06:14 | frontier of what gesture means is so...
I remember the first time. I had this example,
| | 06:23 | my dad is 85 and completely nontechnical
and I showed him a iPhone. I showed him
| | 06:29 | just a picture. I mean, moved from
one picture to another. I did that and I
| | 06:32 | said, put your fingers and just do this.
The first time he did it, he kind of
| | 06:35 | got a smile on his face. So just the sense of
gesture, what that means and that's new to the audience.
| | 06:43 | Lynda: Yeah, yeah. It seems like the
transformation in the music industry has
| | 06:50 | happened a lot quicker than the
transformation in the video industry. I think,
| | 06:56 | today, we finally surpassed -- digital
downloads have surpassed buying physical
| | 07:02 | product in the music space. That hasn't
quite yet happened in the video space.
| | 07:09 | Why do you think that is and what do
you think will happen to propel that to
| | 07:14 | happen further?
| | 07:15 | Dale Herigstad: For me it's as simple
as the difference between audio data and
| | 07:22 | video data. There is more data.
But it's interesting to look at the model where
| | 07:28 | and I guess in progression from
happening first in radio and then going to
| | 07:34 | TV for video, for example,
and we have seen the model
| | 07:41 | of radio, radio and television
where sometime ago radio existed
| | 07:50 | first in a larger scale and that
moved to watching the visual with television.
| | 07:59 | Those two memes are different. They are
different in how we consume them, but
| | 08:03 | watching that transition of how you
interface with that or in our world of
| | 08:10 | interface, for example, and access,
like downloading. You see the models in a
| | 08:18 | different way in audio and it is a
precursor to what's going to happen in video.
| | 08:24 | Lynda: Well, I think in those examples
of both radio and television, it really
| | 08:29 | was sort of before the age of choice,
which I think we're in now, which is where
| | 08:35 | having something on demand exactly
what you want at that exact moment,
| | 08:39 | as little or as much of it as you want,
is more the trend and that's really what
| | 08:43 | has been facilitated with digital music.
I think we are still kind of searching
| | 08:48 | for what the exact format will be in
the video landscape and a lot of the kind
| | 08:54 | of the work that you are
doing is exploring that.
| | 08:55 | Dale Herigstad: I look at from the
standpoint of, if you attach the meaning
| | 09:02 | of the television to video,
the television experience is so
| | 09:07 | fascinating to me because it's a deep,
deep experience, a medium in our current
| | 09:13 | culture. I mean with our generation
growing up. It's all around television and
| | 09:17 | whether we ignore it, it's in the
background, or whether it's on our TV shows,
| | 09:20 | whether it affected our lives by half-
hour segments or whatever, however you define it.
| | 09:27 | That television experience, which
wants to be kind of simpler and easier and
| | 09:32 | not as deep as maybe the web experience,
so what is that in the interactive world?
| | 09:40 | That's the way I think about it.
So video, I associate with sort of that
| | 09:46 | TV experience.
| | 09:48 | Lynda: I think we're starting to see
hybrids of that experience as well, which
| | 09:51 | have been successful, but I am sure
these are just the early primitive days of,
| | 09:57 | you know, what's to come.
| | 09:58 | Dale Herigstad: Yeah. Well, an example
I think of what to an extent what we
| | 10:02 | were talking about is one of the
concepts that we're playing with here at
| | 10:06 | Schematic right now, which is really
interesting. We use the term Dynamic
| | 10:11 | Assemblage. What that means is that in
an on-demand world, which today is kind
| | 10:16 | of disruptive. I mean you click this
thing and then you look at it and
| | 10:19 | you click on other thing and you watch it.
So it's kind of back and forth and back
| | 10:23 | and forth, kind of rather disruptive.
| | 10:25 | It's not like the kind of pure TV
experience, which just has its flow, just
| | 10:29 | kind of runs. Not only is it kind of
smooth and transitional, also if you look
| | 10:34 | at the whole way television is
made, the television networks when they
| | 10:39 | glue that linear experience together,
it seamlessly goes from a brand.
| | 10:44 | Here's the ABC logo that blends into a TV
spot and is carefully crafted to a promo and
| | 10:49 | then it goes to a little mini identity
and then the star walks by and then
| | 10:52 | it goes like in the credits and
then it goes to the next title.
| | 10:55 | Lynda: And everything has been architected.
| | 10:57 | Dale Herigstad: Yes, architected. So
Dynamic Assemblage is just saying that how can
| | 11:00 | you take those parts and kind of
seamlessly apply them now to on demand?
| | 11:04 | This is all kind of a flow that you just --
so all that on demand stuff you sort of steer it,
| | 11:08 | but it sort of makes this dynamic channel.
| | 11:11 | I think that's an interesting idea that may be
the way. It might just be that it's too much work
| | 11:16 | to do it the way it is now, like get
this thing, watch it, get another thing
| | 11:20 | and watch it. So how do
you make a flow out of that?
| | 11:23 | Lynda: Yeah. Well, I am glad there is
Schematic to figure this all out for us.
| | 11:27 | Dale Herigstad: Oh, yes.
| | 11:28 | Lynda: It must be a lot
of fun. Are you having fun?
| | 11:30 | Dale Herigstad: I am having complete fun.
This is the most fun I've had. I feel like
| | 11:34 | it's rewarding to think that like
in my career of all the things that I've done,
| | 11:39 | like illustration and painting
and then maybe graphic design and then
| | 11:44 | motion design, all these parts and 3D
design or CGI, that all those parts are coming
| | 11:49 | together now in what's blooming to
be this new digital age. It's a total
| | 11:55 | playground out there and everyone
is trying to figure everything out.
| | 11:58 | Nobody knows anything anymore.
| | 11:59 | Lynda: Which is great fun!
Dale Herigstad: That's right!
| | 12:01 | Lynda: Well, thank you so much for
showing your enthusiasm and passion for this field
| | 12:06 | and the work you are doing is
amazing. We feel very honored that
| | 12:10 | you've shared so much with this. Thank you!
| | 12:11 | Dale Herigstad: I had
great fun. Thanks very much!
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